Colorfield Field Sketchbook
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The Third in a Three Part Series on Art Not Only How to Explain Modern Art (But How to Have Your Students Create Their Own Abstract Project)
The Third in a Three Part Series on Art Not Only How to Explain Modern Art (But How to Have Your Students Create Their Own Abstract Project) Michael Hoctor Keywords: Paul Gauguin Mark Rothko Pablo Picasso Jackson Pollock Synchromy Peggy Guggenheim Armory Show Collage Abstract expressionism Color Field Painting Action Painting MODERN ABSTRACT ART Part Three This article will conclude with a class lesson to help students appreciate and better understand art without narrative. The class will produce a 20th-Century Abstract Art Project, with an optional step into 21st Century Digital Art. REALISM ABSTRACTION DIVIDE This article skips a small rock across a large body of well-documented art history, including 650,000 books covering fine art that are currently available, as well as approximately 55,000 on critical insights, and almost 15,000 books examining the methods of individual artists and how they approached their work. You, of course can read a lot of them in your spare time! But today, our goal is to is gain a better understanding of why, at the very beginning of the 20th century, there was a major departure in how some groups of "avant-garde" painters approached their canvas, abandoning realistic art. The rock's trajectory attempts to show how the camera's extraordinary technology provoked some phenomenal artists to re- examine how they painted, inventing new methods of applying colors in a far less photographic manner that was far more subjective, departing from: what we see to focus on what way we see. 2 These innovators produced art that in time became incredibly valued. -
Lesson Helen Frankenthaler/Color Field Paintings 6 Kimball Art Center & Park City Ed
LESSON 6 Helen Frankenthaler Color Field Paintings Verbal Directions LESSON HELEN FRANKENTHALER/COLOR FIELD PAINTINGS 6 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON OVERVIEW SUPPLIES • Images of Frankenthaller’s Helen Frankenthaler (1928-2011) was an experimental abstract artwork. expressionist painter, who described her paintings as being • Samples of Color Field improvisations based on real or imaginary ideas of nature. Students Paintings. will work with watercolors and movement to create color fields while • Butcher paper/Tarps/Trays. enriching their understanding of the properties of color in painting. • Scrap paper for Experiments. • White Wax Crayons. INSTRUCTIONAL OBJECTIVES • Watercolor Paper. • Paper Towel/Sponges . • Learn about Helen Frankenthaler. • Liquid watercolors. • Learn about abstraction and the properties of color. • Cups or Palettes • Learn about action painting and the painting process. • Pipettes or Straws. • Create a painting inspired by Helen Frankenthaller’s abstract paintings. HELEN FRANKENTHALLER Helen Frankenthaler (1928-2011) has long been recognized as one of the great American artists of the twentieth century. She was well known among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. LESSON HELEN FRANKENTHALER/COLOR FIELD PAINTINGS 6 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON PLAN 1. Introduce students to the work and life of Helen Frankenthaler. -
National Gallery of Art Postage Washington, D.C
National Gallery of Art Postage Washington, D.C. 20565 and Fees Paid Official Business National Penalty for Private Use, $300 Gallery of Art Third Class Bulk Rate Return Postage Guaranteed CALENDAR OF EVENTS October 1976 National Gallery of Art October 1976 MORRIS LOUIS: MAJOR THEMES AND VARIATIONS Sixteen paintings by Morris Louis (1912-1962), an internationally recognized contributor to the history of modern painting who helped found the Washington Color School, continue on view in galleries 68 through 71. This exhibition is the second in a series organized by the Gallery on aspects of twentieth-century art. Of the paintings in the Louis exhibition, three have never been exhibited or published before: Dalet Tet, a black Veil painting; Janus, an exploration of varying TITIAN. The Triumph of Christ (detail) values of green; and Alphard, which is composed Kupferstichkabinett, Staatliche Museen, Berlin asymmetrically around an intense purple stripe, a TITIAN AND THE VENETIAN WOODCUT compositional format previously not seen in Louis' To mark the international Titian quadricentennial work. Also on view is Beta Kappa, a gift to the Gallery by celebration, an exhibition of 113 woodcuts by Titian and Mrs. Marcella Brenner, the artist's widow. National other Venetian artists will go on view at the The paintings date from the artist's last eight years Gallery October 30 in galleries 23 through 28 on the (1954-1962) and demonstrate Louis' most important of Main Floor. As part of the Gallery's reinstallation contribution to the history of modern painting the its Northern Italian paintings, thirteen works by Titian exploitation of unprimed canvas stained with thinned from the collections, including Venus with a Mirror, paint so that color becomes the dominant element. -
Colorful Language: Morris Louis, Formalist
© COPYRIGHT by Paul Vincent 2014 ALL RIGHTS RESERVED To UNC-G professor Dr. Richard Gantt and my mother, for their inspiration and encouragement. COLORFUL LANGUAGE: MORRIS LOUIS, FORMALIST CRITICISM, AND MASCULINITY IN POSTWAR AMERICA BY Paul Vincent ABSTRACT American art at mid-century went through a pivotal shift when the dominant gestural style of Abstract Expressionism was criticized for its expressive painterly qualities in the 1950s. By 1960, critics such as Clement Greenberg and Michael Fried were already championing Color Field painting for its controlled use of color and flattened abstract forms. Morris Louis, whose art typifies this latter style, and the criticism written about his work provides a crucial insight into the socio-cultural implications behind this stylistic shift. An analysis of the formalist writing Greenberg used to promote Louis’s work provides a better understanding of not only postwar American art but also the concepts of masculinity and gender hierarchy that factored into how it was discussed at the time. ii ACKNOWLEDGMENTS I would like to extend my thanks Dr. Helen Langa and Dr. Andrea Pearson for their wisdom, guidance, and patience through the writing of this thesis. I would also like to thank Dr. Juliet Bellow, Dr. Joanne Allen, and Mrs. Kathe Albrecht for their unwavering academic support. I am equally grateful to my peers, Neda Amouzadeh, Lily Sehn, Kathryn Fay, Caitlin Glosser, Can Gulan, Rachael Gustafson, Jill Oakley, Carol Brown, and Fanna Gebreyesus, for their indispensable assistance and kind words. My sincere appreciation goes to The Phillips Collection for allowing me the peace of mind that came with working within its walls and to Mr. -
On Minimalism + Meditation
On Minimalism + Meditation CIRCA GALLERY OCT 24TH, 2018 9:27 AM Lindsy Halleckson Silent Search - No. 26, 2015 CIRCA Gallery Contemporary minimalism as a style and practice is intertwined with meditation from start to finish. The artist often begins the creation of the piece by meditating, or falls into a meditative state while making the piece. On the other end of the process, the viewer can use the minimal nature of the artwork to guide their meditation, or after casually viewing the work may slip into an unintentional state of meditation. MINIMALIST PAINTING IS THE PLACE TO BEGIN MEDITATION THROUGH ART. CIRCA’s current exhibition depth of [color] field focuses on minimal, monochromatic, color field paintings that facilitate this kind of looking or mindful observation—looking into a piece, rather than at it. The very nature of minimal artwork allows the viewer to more easily move into a meditative state, where reality fades and all that remains is the observer and the painting. Without a specific visual subject or topic, the mind is much more open, unencumbered, and blank while viewing. The deep, saturated color of pieces like Brad Durham’s Without Shadows pull the viewer in and guide their eye deep into its textured layers. While other surfaces, like the subtle shifts and perspective-bending color transitions in Lindsy Halleckson’s Silent Search series, make a space for the eye to truly rest, almost as if out of focus. Brad Durham Without Shadows, 2017 CIRCA Gallery INTENTIONAL OBSERVATION IS ESSENTIAL. It’s no secret that the majority of the population dislikes minimalist art. -
Color Field, Then And
Color Field, Then and Now I fear that the visual culture in which these works were admired is now one of those distant “you had to be there” moments, which are impossible to reconstruct. by David Carrier March 7, 2020 Paul Feeley, Formal Haut, 1965, oil-based enamel on canvas, 60 x 60 inches The Fullness of Color: 1960s Painting at the Guggenheim Museum, New York, is a small catalogue-less exhibition that presents a large roomful of Color Field paintings. The show includes Kenneth Noland’s “Trans Shift” (1964), in which a suspended blue and green chevron, set on the white canvas ground, reaches almost to the bottom edge of the frame; Jules Olitski’s “Lysander-I” (1970), where the reddish mist in the upper right quadrant slowly fades into yellow; Alma Thomas’s “Cherry Blossom Symphony” (1972), with a violet background on which small marks of dark blue are superimposed — they look a little like the lozenges in some of Larry Poon’s early paintings. (Thomas actually is the most interesting artist here. Her presence puzzles me, for I don’t usually associate her with these other Color Field painters.) In Morris Louis’s “I-68” (1962), a field of thinly painted colors descends vertically. And Helen Frankenthaler’s “Canal” (1963) sets an irregularly shaped orange-yellow form of billowing color in front of a blue patch and, at the top, behind a dark grayish form. And there are two minor paintings, Gene Davis’s big “Wheelbarrow” (1971) and Paul Feeley’s decorative “Formal Haut” (1965). A review should focus on the art displayed. -
Grade 1, Lesson 6, Louis
1 First Grade Print Alpha-Pi (1960) By Morris Louis (Loo –is) Technique: acrylic on canvas Size: 102 ½” x 177” Collection: The Metropolitan Museum of Art, New York Art Style: Abstract Expressionism – Color Field OBJECTIVES: The students will be introduced to the work of Morris Louis. The students will define the term “abstract” as it relates to visual arts. The students will describe Louis’ staining technique. The students will examine Louis’ color choices. The students will analyze Louis’ compositional choice in his work, Alpha-Pi. The students will apply watercolor paint to paper in a similar way to Louis’ technique. The students will explore color and composition in their artwork. ABOUT THE ARTIST: Morris Louis (1912-1962) was an American Abstract Expressionist painter. As an Abstract Expressionist, Louis created artwork that did not represent identifiable subject matter, but instead he expressed his feelings through color and line. He studied at the Maryland Institute of Fine and Applied Arts. Louis was part of a group of artists who developed “color field” painting. This type of painting was characterized by solid planes of fluid paint and intense color. Louis wanted to communicate purely through color, and he also experimented with “empty” space in his compositions. (See other images of Morris Louis’ artwork in the “Support Materials.”) Alpha Pi is a large work of art. It is a little over 8 feet in height and 14 feet in length. Louis had a very small studio and didn’t have enough room to spread out his canvas so he kept it folded. He could paint on only one portion of the canvas at a time. -
Notices of the American Mathematical Society
OF THE 1994 AMS Election Special Section page 7 4 7 Fields Medals and Nevanlinna Prize Awarded at ICM-94 page 763 SEPTEMBER 1994, VOLUME 41, NUMBER 7 Providence, Rhode Island, USA ISSN 0002-9920 Calendar of AMS Meetings and Conferences This calendar lists all meetings and conferences approved prior to the date this issue insofar as is possible. Instructions for submission of abstracts can be found in the went to press. The summer and annual meetings are joint meetings with the Mathe· January 1994 issue of the Notices on page 43. Abstracts of papers to be presented at matical Association of America. the meeting must be received at the headquarters of the Society in Providence, Rhode Abstracts of papers presented at a meeting of the Society are published in the Island, on or before the deadline given below for the meeting. Note that the deadline for journal Abstracts of papers presented to the American Mathematical Society in the abstracts for consideration for presentation at special sessions is usually three weeks issue corresponding to that of the Notices which contains the program of the meeting, earlier than that specified below. Meetings Abstract Program Meeting# Date Place Deadline Issue 895 t October 28-29, 1994 Stillwater, Oklahoma Expired October 896 t November 11-13, 1994 Richmond, Virginia Expired October 897 * January 4-7, 1995 (101st Annual Meeting) San Francisco, California October 3 January 898 * March 4-5, 1995 Hartford, Connecticut December 1 March 899 * March 17-18, 1995 Orlando, Florida December 1 March 900 * March 24-25, -
MORRIS LOUIS (1912-1962) the Emergence of Morris Louis [This Text Is Reproduced in Its Entirety from the Following Publication
MORRIS LOUIS (1912-1962) The Emergence of Morris Louis [This text is reproduced in its entirety from the following publication: Upright, Diane. Morris Louis: The Complete Paintings. New York: Harry N. Abrams, Inc., 1985, pp. 9-34.] Little more than twenty years after his death in 1962, the reputation of Morris Louis is securely established. An extensive bibliography and exhibition history, as well as the presence of his paintings in the collections of almost seventy museums around the globe, provide clear testimony to this fact. Yet, astonishingly, that part of his career on which his reputation is based lasted only five years, during which time he produced close to six hundred paintings. Of these, about four hundred are enormous, mural-sized canvases. The artist who produced this remarkable oeuvre remains an elusive, enigmatic figure to this day. A loner, especially during the years of his greatest achievement, Louis had few friends and rarely discussed his art with anyone—not even his wife. Never part of the New York art world except for a few years spent working for the Works Progress Administration in New York during the 1930s, he chose instead the relative isolation of Baltimore and, later, Washington, D.C. Even after he had achieved some success, toward the end of his tragically short career, he still worked alone in a studio so small that he could only work on one canvas at a time. In fact, in the case of the largest paintings from his series of Unfurleds, he could only work on half of a canvas at a time. -
Opticality and the Work of Morris Louis (1912-1962)
CHAPTER 1 SITUATING MORRIS LOUIS 1912–1962 SITUATING MORRIS LOUIS 1912–1962 Although the work of the Washington–based artist Morris Louis (1912–62) is now discussed alongside some of the most well–known of the American abstract artists of the mid–twentieth century, much of Louis’ mature work, and arguably his most refined, was produced outside of public knowledge. For the majority of Louis’ career his work existed in relative obscurity, particularly in comparison with his contemporaries, artists such as Jackson Pollock (1912–56), Mark Rothko (1903–70) and Clyfford Still (1904–80). Being amongst the first generation of abstract artists in the United States, the newness of his abstract painting depended upon the endorsement of major critics for public appreciation.1 The critical recognition of Louis’ work emerged only with the support of Clement Greenberg in 1960, almost 30 years after he began working as an artist and only two years before his death. The timing of Greenberg’s writing positioned Louis amongst a new generation of artists including Frank Stella (1936 – ), Kenneth Noland (1924 –) and Jules Olitski (1922 –). Audiences were only beginning to appreciate Louis’ work as he entered the last phase of his career, and as such, the representation of Louis’ work only addressed a small period of his career. The limited exposure of Louis’ paintings prior to the early 1960s had major effects upon how his works were interpreted in the decades following his death. Many retrospectives and group exhibitions of Louis’ work came to relate his paintings to the work of younger artists engaging with ‘Colourfield’ abstraction. -
Color Field Painting Is a Tendency Within Abstract Expressionism, Distinct from Gestural Abstraction, Or Action Painting
QUICK VIEW: Synopsis Color field painting is a tendency within Abstract Expressionism, distinct from gestural abstraction, or action painting. It was pioneered in the late 1940s by Mark Rothko, Barnett Newman, and Clyfford Still, who were all independently searching for a style of abstraction which might provide a modern, mythic art, and express a yearning for transcendence and the infinite. To achieve this they abandoned all suggestions of figuration and instead exploited the expressive power of color by deploying it in large fields which might envelope the viewer when seen at close quarters. Their work inspired much Post-painterly abstraction, particularly that of Helen Frankenthaler, Morris Louis, Kenneth Noland, and Jules Olitski, though for later color field painters, matters of form tended to be more important that mythic content. Key Ideas / Information • Color field painting emerged out of the attempts of several artists in the late 1940s to devise a modern, mythic art. Seeking to connect with the primordial emotions locked in ancient myths, rather than the symbols themselves, they sought a new style which would do away with any suggestion of illustration. • The style was championed most enthusiastically by critic Clement Greenberg, who acclaimed the advances it achieved in the realm of form and composition. Bemoaning what he saw as the increasingly imitative, academic qualities of some action painters, he argued that color field painting represented the way forward. His advocacy of the style proved highly influential. • Color field painting marks a major development in abstract painting, since it was the first style to resolutely avoid the suggestion of a form or mass standing out against a background. -
Tangible Investments LLC
Tangible Investments LLC Late Summer Coin, Antique and Jewelry Auction Thursday - September 12, 2013 Late Summer Coin, Antique and Jewelry Auction 1887 Proof Seated 25C, NGC PF66, Rainbow Toned (65771) USD 1,750 - 2,250 NGC has certified only 31 pieces at this level, with a mere 11 coins grading finer. Considering the Greysheet price for this coin, it seems that this issue may be a sleeper. Certified as PF66 by NGC. However, on this piece the technical grade nearly takes a back seat to the stunning rainbow toning on the obverse. This specimen clearly came from an old-time cabinet or has housed for years in a vintage Wayte Raymond album. The obverse is a spectacular blend of lime-green toning at the peripheries, and electric-blue and violet iridescence at the centers. The reverse offers a gorgeous palette of russet and gold coloration. A splendid Seated quarter on all fronts. 2: Original 1832 Bust 50C, ANACS XF40 (65850) USD 150 - 250 Fully original 1832 Capped Bust half dollar, with more detail than one would expect for an XF40 designation. Remnants of luster remain deep in the recesses of the protected areas. Pleasing gunmetal-gray patination confirms the unmolested state of this early half dollar. 3: Rare 1850 Seated Liberty Dollar, PCGS MS63 (67424) USD 11,000 - 12,500 Only 7,500 Seated Liberty dollars were minted with this date, and few have survived in Uncirculated condition. In fact, PCGS has certified a mere five pieces at this level, with only two coins grading finer, and they are both MS64.