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I love Barnett Newman and how he continued a specific style of painting. Wow to think that I was one when he painted the Onement I (1948). The painting’s title is an archaic derivation of the word “atonement,” meaning, “the state of being made into one.”
Newman used a vertical band to define the spatial structure of his work. This band, later dubbed a “zip,” became Newman’s signature mark.
Newman’s paintings were wonderful fields of color and were a break with the gestural abstraction of his peers. He Created ZIP- an approach that avoided painting’s conventional oppositions of figure and ground. He created an area or line of color he called a symbol, the “zip,” which might reach out and pull the viewer into the image.
Barnett Newman was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters
I never knew before that he looked like a detective. I love his mustache.
I seem to stray all over the place. Like a lost dog sniffing my away along.
Nice article about Barnett Newman. The Art Story
“I hope that my painting has the impact of giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality.”
Newman shared the Abstract Expressionists‘ interests in myth and the primitive unconscious, but the huge fields of color and trademark “zips” in his pictures set him apart from the gestural abstraction of many of his peers. The response to his mature work, even from friends, was muted when he first exhibited it. It was not until later in his career that he began to receive acclaim, and he would subsequently become a touchstone for both Minimalists and a second generation of Color Field painters. Commenting on one of Newman’s exhibitions in 1959, criticThomas B. Hess wrote, “he changed in about a year’s time from an outcast or a crank into the father figure of two generations.”
Event #247 (Avvenimento #247), 1956. Oil with sand on canvas, 55 3/16 × 55 1/8 inches (140.2 × 140 cm). The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 76.2553.164 © Edmondo Bacci
More in Painting
Edmondo Bacci has applied the physicality of Action painting to the depiction of the origins of matter in extraterrestrial regions. Like the apocalyptic paintings of the years immediately preceding World War I by artists such as Vasily Kandinsky and Franz Marc, his work comingles themes of cosmic genesis and destruction expressed through swirling atmospheric color. The three primaries—red, blue, and yellow—predominate, defining broad areas against which a wide range of other colors play. The painting is like a scenario in which light is separated from darkness and space from matter. Planetary forms seem to coalesce out of material produced by a cosmic eruption; they prepare to establish their orbits and generate life. The immediacy and drama of the event is conveyed through the tactility of the surface. The paint, mixed with sand, is encrusted on the canvas to form a kind of topographic ground evoking plains, ridges, lakes, and peaks. The activity of the artist in ordering chaos is associated with elemental creational processes within the universe.
Read more at Guggenheim
Follow the rain
How blessed to paint what i see instead of what I yearn to see.
When is the time you finally develop your own Eye? All my life I’ve been trying to create a style from portraits too abstract – all different. Different places In different cities and different people have influenced me. I love to go to museums and art galleries and I love a whole body of artist. i am particularity drawn to Joan Mitchell and Cy Twombly who freely express themselves with flickering emotional brush strokes.
Now- today in the midst of glorious sun coloring the verdant valley I am blessed to live in Kauai this painting emerged.
Celebration of Life
When do you come into your own I guess it is when you quit looking at others and start looking inside. Certainly I have lived long enough to find the answers there. It takes a while to sort through all the influences. I’ve created an imaginary perfect garden and I can cultivate and grow and change and devour.
One doesn’t need to do what you are taught to do, you can make it happen in a different way. Trees do not have to be green and brown. A sky can be rich cadmium red instead of blue.
Exploring, playing, testing, experimenting. Risking failure to succeed. How marvelous a freedom.it is important to stay in touch with why you paint. It should be pleasure based over work based. I paint because I am compelled to do so. We tend to see what we already know. Perhaps, I am looking to see or create what I don’t know.
Abstraction is that which you make up or imagine you see. However we paint; everything comes from our imagination, it may be influenced by what we see but, certainly what we feel. If you feel something you can find a way to reason it out. I am an artist. I paint abstractly.
I am excited about color. Color has tonal qualities like music. Today this is my song as I “Celebrate Life.”
William Scott at Tate St. Ives
February 2013 marks the centenary of the birth of William Scott (1913–1989). Across a career spanning six decades, Scott produced an extraordinary body of work that has secured his reputation as one of the leading British painters of his generation. Exhibiting in America and Europe from the early 1950s, Scott is renowned for his powerful handling of paint in his exploration of still life, landscape and nude, and of the unstable boundaries between them. This will be the first major showing of the artist in the UK for over 20 years.
To mark the achievements of this internationally acclaimed modern painter, Tate St Ives, in association with Hepworth Wakefield and Ulster Museum, Belfast, will be showcasing an important retrospective exhibition. Beginning at Tate St Ives with a series of thematic rooms (focusing on Scott’s morphological shifts between genres and his preoccupation with ‘significant forms’) the exhibition will evolve as it travels to Hepworth Wakefield, before expanding into a survey exhibition at Ulster Museum, Belfast. In collaboration with the William Scott Estate, which is currently finalising a catalogue raisonné of the artist’s paintings (due December 2012), the works will be drawn from major collections across the UK and Ireland.
Today I’m going to start something new….
Painting abstract figures; deconstructed, rearranged, layered and inscribed of what I see here.
Today I painted not an eternal moon but a sea turtle. How interesting to explore using watercolors. I must say it’s been a while. An interesting challenge to be sure.
How difficult it is to explain the feeling. Often when creating a piece that begins as representational really is made of abstract elements. True Non objective (no subject) abstract painting is the most difficult and demanding for any artist. The reasoning that non objective painting comes from emotion or feelings or from simply enjoying the process and serendipity of nothing. It is pure design creation. The artist creates and builds a piece from thin air. Based on color, form or shape, the visuals must relate to one another and reveal themselves to the viewer in a way that entices, or confronts, or even disturbs. The same is true in representational as Balance and relationships must be created. . .and that effort often takes a lifetime of creating, months of trials and measuring the elements and how they play off of every part of the painting. It absolutely is not deliberately making brush strokes or just dripping, pouring or slinging pigment and hoping for the best. Making such paintings is a continuous process of considering composition, alternatives, weighing them, deciding how to proceed, then acting decisively with deliberate confidence. As the final processes take place, great thought and perhaps courage is required of the artist. For a significant mistake could ruin weeks of work. Often the painting process evolves over time as it did in this work.
The end result is not meant, necessarily, to ‘look specifically like something’ ~ ,the turtle,’ or to give some ambiguous view of a place or object one can name or identify. In this case it is to capture the water, the movement and the color. The result must be a fascination or pure emotional response from the viewer. Perhaps that may be as simple as being fascinated by feelings of depth or appreciating subtle shifts in color and how the artist was able to create those effects. Often pieces of a painting are simply beautiful abstracts. The original work may be a representational work, but the pieces are abstract. The shear act of creating, the process, the craft, the technique was enough.