The Color Field movement is a painting style from the 1950s characterized by large areas of color. A large cross-section was eecently on display in Washington
Saturday, February 21, 2009
Color Field Exhibit
Ackland Art Museum: A glimpse of Circa 1958
As the Ackland Art Museum celebrates it's 50th year, it hosts one of its most extensive exhibitions. Director Emily Kass discuses this exhibition that showcases contemporary art. Artists like Warhol, Yoko Ono and Kenneh Noland are showcased. Visit www.dailytarheel.com for the high-quality version of this video and more DTH coverage.
Art credits
Kenneth Noland, American, born 1924: That, 1958-59; oil on canvas, 83 x 83 inches. Collection of David Mirvish, Toronto. Art @ Kenneth Noland/Licensed by VAGA, New York, NY
Morris Louis, American, 1912 1962: Theta Beta, 1960; acrylic resin paint on canvas, 104 5/8 x 233 ½ inches. Ackland Art Museum, Gift of Marcella Louis Brenner. ©1993 Marcella Louis Brenner.
John Chamberlain, American, born 1927: Nutcracker, 1958; painted steel, 47 x 39 x 30 inches. Private Collection, courtesy Allan Stone Gallery, New York. © John Chamberlain /Artist Rights Society (ARS), New York
Yoko Ono: Painting to Hammer a Nail, 1961/1966; painted wood panel, nails, painted hammer, chain; 13 ¾ x 10 ½ x 4 ½ in. Realized according to the artist's instructions; with permission of the artist. © Yoko Ono
link to video
Janis Goodman and Peter Winant discuss this exhibition which showcases abstract compositions by Washington, D.C. based artist Morris Louis. Morris' works feature a staining technique which is now known as "color field painting."
http://www.weta.org/video/individual/Morris+Louis+Now
Join Diane Upright on the opening day of the Morris Louis Now exhibition as she shares her perspectives on the artist.
Janis Goodman and Peter Winant discuss this exhibition which showcases abstract compositions by Washington, D.C. based artist Morris Louis. Morris' works feature a staining technique which is now known as "color field painting."
http://www.weta.org/video/individual/Morris+Louis+Now
Join Diane Upright on the opening day of the Morris Louis Now exhibition as she shares her perspectives on the artist.
Morris LouisBuskin
(1959)
(1959)
Morris Louis (Morris Louis Bernstein) was one of the talented U.S. abstract expressionist painters to emerge in the fifties. From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts on a scholarship, but left shortly before completing the program. He worked at various odd jobs to support himself while painting and in 1935 served as president of the Baltimore Artists’ Association. From 1936 to 1940, Louis lived in New York, where he worked in the easel division of the WPA Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov. He also dropped his last name.
He returned to Baltimore in 1940 and taught privately. In 1948, he started to use Magna acrylic paints. In 1952, Louis moved to Washington, D.C. Living in Washington, D.C., somewhat apart from the New York scene and working almost in isolation, he and a group of artists that included Kenneth Noland were central to the development of Color Field painting. The basic point about Louis's work and that of other Color Field painters, in contrast to most of the other new approaches of the sixties, is that they continued a tradition of painting exemplified by Pollock, Newman, Still, Motherwell, and Reinhardt. All of these artists were concerned with the classic problems of pictorial space and the statement of the picture plane.In 1953, he and Noland visited Helen Frankenthaler’s New York studio, where they saw and were greatly impressed by her stain painting Mountains and Sea (1952). Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application. Louis characteristically applied extremely runny paint to an unstretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils. The importance of Frankenthaler's example in Louis's development of this technique has been noted. However, even more so than Frankenthaler, Louis eliminated the brush gesture, although the flat, thin pigment is at times modulated in billowing tonal waves. His "veil" paintings consist of bands of brilliant, curving color-shapes submerged in translucent washes through which they emerge principally at the edges. Although subdued, the resulting color is immensely rich, In another formula, the artist used long parallel strips of pure color arranged side by side in rainbow effects.
He destroyed many of the paintings in this show but resumed work on the Veils in 1958–59. These were followed by Florals and Columns (1960), Unfurleds (1960–61)—in which rivulets of more opaque, intense color flow from both sides of large white fields—and the Stripe paintings (1961–62). Louis died in Washington, D.C., on September 7, 1962. A memorial exhibition of his work was held at the Solomon R. Guggenheim Museum, New York, in 1963. Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Collection of Fine Arts, Washington, D.C., in 1976.
He returned to Baltimore in 1940 and taught privately. In 1948, he started to use Magna acrylic paints. In 1952, Louis moved to Washington, D.C. Living in Washington, D.C., somewhat apart from the New York scene and working almost in isolation, he and a group of artists that included Kenneth Noland were central to the development of Color Field painting. The basic point about Louis's work and that of other Color Field painters, in contrast to most of the other new approaches of the sixties, is that they continued a tradition of painting exemplified by Pollock, Newman, Still, Motherwell, and Reinhardt. All of these artists were concerned with the classic problems of pictorial space and the statement of the picture plane.In 1953, he and Noland visited Helen Frankenthaler’s New York studio, where they saw and were greatly impressed by her stain painting Mountains and Sea (1952). Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application. Louis characteristically applied extremely runny paint to an unstretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils. The importance of Frankenthaler's example in Louis's development of this technique has been noted. However, even more so than Frankenthaler, Louis eliminated the brush gesture, although the flat, thin pigment is at times modulated in billowing tonal waves. His "veil" paintings consist of bands of brilliant, curving color-shapes submerged in translucent washes through which they emerge principally at the edges. Although subdued, the resulting color is immensely rich, In another formula, the artist used long parallel strips of pure color arranged side by side in rainbow effects.
He destroyed many of the paintings in this show but resumed work on the Veils in 1958–59. These were followed by Florals and Columns (1960), Unfurleds (1960–61)—in which rivulets of more opaque, intense color flow from both sides of large white fields—and the Stripe paintings (1961–62). Louis died in Washington, D.C., on September 7, 1962. A memorial exhibition of his work was held at the Solomon R. Guggenheim Museum, New York, in 1963. Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Collection of Fine Arts, Washington, D.C., in 1976.
Morris Louis
Morris Louis (1912-1962), American abstract painter, the main pioneer of color-stain, or color-field, painting. He was born Morris Louis Bernstein in Baltimore, Maryland, and studied painting at the Maryland Institute of Fine and Applied Arts in Baltimore from 1929 to 1933. Louis originally worked in a late cubist manner, but after visiting the studio of Helen Frankenthaler in 1953, he was heavily influenced by her method of painting without brushes—by staining raw canvas with poured acrylic paint. His Veil series (1954 and 1957-1960) uses thin washes of paint to create translucent curtains of color on the canvas; one example from this series is Tet (1958, Whitney Museum of American Art, New York City). In the summer of 1959 Louis began a number of experiments with this painting technique. In the series Florals, he used heavier paint in more haphazard bursts in Alephs, areas of pigment radiate out from the center. In Columns,Omegas, and Japanese Banners, large portions of the canvases remain unstained. These experiments resulted in the Unfurled series (1960-1961), in which thin brilliant streams of color flow across the lower corners of otherwise empty canvases, as in Beta Upsilon (1960, Smithsonian American Art Museum, Washington, D.C.). In his next series, the Stripe series (1961-1962), colored bands are juxtaposed vertically or horizontally; one example is Third Element (1962, Museum of Modern Art, New York).
Thursday, February 19, 2009
Joan Mitchell
Artiste Joan Mitchell
Titre La ligne de la rupture
Média oil on canvas
Taille 112 x 79 in. / 284,5 x 200,7 cm.
Année
1970 - 1971
Description
signéhuile sur toilePeint en 1970-71.
Divers
Signed
Vente de
Sotheby's Paris: Monday, May 26, 2008[Lot 15]Contemporary Art
Joan Mitchell was born in Chicago, Illinois in 1925 and died in a Paris suburb in 1992. Her expatriate years began in the late 1950s and continued uninterrupted until her passing in Vetheuil, France. She occupied a celebrated stature in the generation that succeeded Pollock and Rothko. She declined the theoreticism of her European counterparts, and remained throughout her career the empirical American, personally accountable for her memories and emotions. Her work is characterized in many developments from the 1950s to the early 90s shortly prior to her passing. She usually worked on multiple panels or large scale canvases - striving to attract a natural rather than constructed rhythm from the composition, a rhythm emanating from the expansiveness of the gesture or from the unrestrained use of color and the pervasive luminosity. The titles of her last paintings suggest the abstract valleys and empirical fields of her beloved French countryside. In speaking of Mitchell, others tell us of her physical materiality - how she exudes the visual sentiments of nature - the objectivity of her painting, devoid of anecdote or theater and in her own words "to convey the feeling of the dying sunflower." Joan Mitchell as an abstract expressionist composes with long curvilinear strokes or broad stains of color, contrasting warm and cool, often on unprimed canvases. Her perceptions enrich her work with a fascinating sense of the unfinished. Joan Mitchell demonstrated in painting just as in life, anything can happen.
Thursday, February 12, 2009
How it feels to have a stroke
http://www.ted.com Neuroanatomist Jill Bolte Taylor had an opportunity few brain scientists would wish for: One morning, she realized she was having a massive stroke. As it happened -- as she felt...
Wednesday, February 11, 2009
LIVING SKETCHBOOK ™ — Perspective in Action!
This short movie demonstrates to what extent perspective plays a critical role in visual expression. In fact, there is practically no escaping it!
Art Series Episode5: Upside Down Drawing
Today's episode teaches you how to draw upside down and force a cognitive shift from the left side of the brain to the right side. Since the drawing is upside down your left brain can't make sense of the drawing and so you're brain shifts to the right side to make sense of the drawing. This is an example from Betty Edward's book "Drawing on the Right Side of the Brain." which is out there in book stores for anyone interested in buying this book. This video is here merely to inform readers about the book that's all.
Wednesday, February 4, 2009
The Nude Sculptures of Marton Varo
A short documentary of Marton Varo's exquisite sculptures of the female nude.
work in progress - ballerina sculptures
same clips from work in progress of modeling the series of ballerina sculptures
Symphony in Clay II
Master sculptor Peter Rubino turns 250lbs of clay into a monumental bust of Beethoven in 20 minutes - choreographed to the 5th Symphony...unique performance and amazing to see live
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