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His painting Big A is an example of his color field paintings of the late 1960s. [21] [27] During the late 1950s and early 1960s, Frank Stella was a significant figure in the emergence of minimalism, post-painterly abstraction and color field painting. His shaped canvases of the 1960s like Harran II (1967) revolutionized abstract painting. One ...
Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a focus on process, gestalt and repetitive compositional strategies in general.
Autumn Rhythm (Number 30) is a 1950 abstract expressionist painting by American artist Jackson Pollock in the collection of the Metropolitan Museum of Art in New York City. [1] The work is a distinguished example of Pollock's 1947-52 poured-painting style, and is often considered one of his most notable works.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
Mark Rothko (/ ˈ r ɒ θ k oʊ / ROTH-koh; Markus Yakovlevich Rothkowitz until 1940; September 25, 1903 – February 25, 1970) was a Latvian American abstract painter. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970.
Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell II and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank, but returned to Cohasset Beach, Washington, every summer during his youth.
The rider's cloak is medium blue, which casts a darker-blue shadow. In the foreground are more amorphous blue shadows, the counterparts of the fall trees in the background. The blue rider in the painting is prominent (but not clearly defined), and the horse has an unnatural gait (which Kandinsky must have known) [citation needed]. This ...
According to art historian Linda Nochlin, the "meaning and emotional intensity [of Mitchell's pictures] are produced structurally, as it were, by a whole series of oppositions: dense versus transparent strokes; gridded structure versus more chaotic, ad hoc construction; weight on the bottom of the canvas versus weight at the top; light versus ...