Finally, Dana Ingesson and Alexandra Verbeek are painters of pure abstraction whose works in watercolors and oils, respectively, create dimensional surfaces and sudden horizons out of the flatness intrinsic to paper or canvas.Įncounters: Nature and Culture features six artists whose works highlight the underlying presence of subjectivity in all objective understanding. Howard Harris and Hiroko Saigusa occupy a intermediate realm between realism and and abstraction, alluding to the principles of design while blurring any and all boundaries between decoration and illumination. Iftah Geva and Attila Mata are both sculptors who physically recreate the spatial dimensions normally relegated to paintings. While von Döhren paints utopian landscapes that veer off into dream, Lizi highlights the spatial structure of the framed canvas, making it’s object-like solidity appear porous by way of large, gestural strokes of paint. Clea von Döhren and Mao Lizi have an almost mystical intuition of spatial presentation. Today, this movement is still present, it is not just a style of painting, it is a philosophy, a state of mind, a freedom.Featuring eight artists, Lyrical Abstraction is a renewed inquiry into the spatial questions posed by abstraction. Lyrical abstraction has marked the history of art, questioning the way of painting and the representation of forms. In the United States, more than a dozen artists practiced lyrical abstraction: Mark Rothko, Sam Francis, Paul Jenkins and Joan Mitchell among many others. Lyrical abstraction was taking a different direction from minimalism towards a new path: a freer expressionism. American lyrical abstraction is characterized by intuitive and relaxed manipulation of colour, spontaneous expression, illusionistic spaces and the use of acrylic paint. Lyrical abstraction in the United States has existed mainly in New York, Los Angeles and Washington. Lyrical abstraction had its beginnings, with more than 100 artists practicing this style in Europe. For French artists, lyrical abstraction is a new possibility of personal expression. Lyrical abstraction was not only opposed to the previous cubist and surrealist movements, but also to geometric abstraction, also known as cold abstraction. Artists practicing this artistic current plunged into non-figurative painting that emphasized gesture and light. In the 1940s, after the occupation and collaboration, France tried to regain its own artistic identity. Lyrical abstraction describes two interconnected but, in the history of modern painting, separate movements. This goes hand in hand with the forms and gestures practiced with the brush no premeditated gesture on the part of the artist during his practice. No pre-existing form should be represented or imagined. Indeed, the isolation and concentration of the practitioner helped to free himself so that the pictorial expression was as pure as possible. To achieve these movements, the artist's state of mind had to be ecstatic. He delivered improvised gestures, starting from a blank canvas. Georges Mathieu practiced artistic performance voluntarily, producing works in front of an audience that was amazed to see him in action. Painting the moment, absorbing the atmosphere, then retranscribing it on a canvas. This continuity provokes a sequence of movements allowing an infinite number of possibilities. Speed of execution is a priority to allow the spirit to continue in the momentum of inspiration. All that counts is the expressiveness of movement in improvisation. Leave the brush at hand, express yourself with rapidity. Everything is done instantaneously, painting the moment without premeditation. Lyrical abstraction was born in Paris in 1947, this painting is the result of an improvised movement, directly applied to the canvas. Indeed, for this free artist of total independence of mind, instinct and spontaneity must prevail over theory. Considered one of the founding fathers of lyrical abstraction, Georges Mathieu is known as "the fastest painter in the world".
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