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They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionally showing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstract shapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, like giant amoebae ...
Landscape with Yellow Field: Lenbachhaus, Munich 29.8 x 44.5 More images: 1905 Russian beauty in a landscape [4] Lenbachhaus, Munich 41.5 x 28.8 Tempera on board More images: 1906 Saint-Cloud Park, Shaded Path: Musée National d'Art Moderne, Paris 48 x 65 Oil paint on canvas More images: 1906 Rapallo, Stormy Sea: Musée National d'Art Moderne ...
Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape [2] or the first Cubist landscape. [3] The painting prompted art critic Henri Matisse to mock it as being composed of cubes which led to the name of ...
[2] [23] Art in America’s Joanna Frueh suggested Sharpe’s formal experiments were a quest to realize the inspiration experienced by early modernists and the Abstract Expressionists, within an independent language that rivaled but did not imitate them. [7] [18] David Sharpe, Untitled Landscape, oil on canvas, 56" x 68," 1970.
Owen moved to New York after completing his M.A., joining a community of SoHo-based artists. [6] His first solo New York show at the Leo Castelli Gallery in 1972 included a number of large canvases described by the art critic David L. Shirey as "[r]esembling something like Paisley prints or enlarged marble paper gone berserk". [7]
Memories and the feelings she associated with remembered landscapes provided the primary source material for her work. Mitchell told critic Irving Sandler, "I carry my landscapes around with me." [12] Mitchell painted primarily with oil paints on primed canvas or white ground, using gestural, sometimes violent brushwork.
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