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Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism , while many of its notable early proponents were among the pioneering abstract expressionists.
Going to the Match is the title of a number of paintings by British painter L. S. Lowry, depicting crowds of spectators walking towards a sports ground.Lowry's best known Going to the Match painting is his 1953 painting of football fans heading towards Burnden Park, the then home of Bolton Wanderers Football Club. [1]
Paintings from his first months in the city understandably spring from pop art influences that had characterised his art over the past years but, around 1969, Bowling worked with personal photographs, letters, and cutout stencils of continents, overlapping references to geography, memory, and history in canvases he stained and splattered with ...
The painting was made using five drones which were each programed to follow a specific light path, and then captured using an Olympus OM-D E-M1 mark II. Drones create impressively gigantic light ...
Oil paint on canvas board More images: 1901 to 1903 Akhtyrka, Park: Musée National d'Art Moderne, Paris 23.7 x 32.8 Oil paint on canvas board More images: 1901 to 1905 Binz auf Rügen (Twilight) Musée National d'Art Moderne, Paris 23.2 x 32.8 Oil paint on canvas board More images: 1902 Kochel, the Bridge: Stedelijk Museum Amsterdam More ...
Les Joueurs de football is a large oil painting on canvas with dimensions 225.4 x 183 cm (88 3/4 x 72 1/16 in.) signed and dated "Albert Gleizes 1912–13", lower left. After at least one preliminary sketch, [6] Gleizes began working on this painting in 1912 and finished it before exhibiting the work at the Salon des Indépendants, March 1913. [7]
The painting depicts a dematerialized soccer player. The athlete's calf is seen in the center of the painting, and portions of other body parts can be seen around it. Due to its use of vibrant hues divided into sections, the painting gives the impression that rays of light are illuminating the subject. [ 1 ]
Piet Mondrian, Composition No. 10, 1939–1942, oil on canvas. Throughout 20th-century art historical discourse, critics and artists working within the reductive or pure strains of abstraction have often suggested that geometric abstraction represents the height of a non-objective art practice, which necessarily stresses or calls attention to the root plasticity and two-dimensionality of ...
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