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Nuagisme (French pronunciation:; literally Cloudism) is a French art-critical term for an art movement that was advanced in the 1950s by French art critic Julien Alvard (1916–1974) [1] in which young French and foreign painters participated in France.
Mavis Iona Pusey (September 17, 1928 – April 20, 2019) was a Jamaican-born American abstract artist. [1] She was a printmaker and painter who was well known for her hard-edge, nonrepresentational images. Pusey drew inspirations from urban construction. She was a leading abstractionist and made works inspired by the constantly changing ...
Kenneth Noland, Beginning, 1958, magna on canvas painting, Hirshhorn Museum and Sculpture Garden. Working in Washington, D.C., Noland was a pioneer of the color field movement in the late 1950s. Color field painting is a style of abstract painting that emerged in
Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. [2] [3] Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. [4] Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas. [5] [6]
Clyfford Still (November 30, 1904 – June 23, 1980) was an American painter, and one of the leading figures in the first generation of Abstract Expressionists, who developed a new, powerful approach to painting in the years immediately following World War II.
Despite unnatural palettes, spaceless sheets of color, and obvious trails of the artist's tools, the abstract pictures often act like windows through which we see the landscape outside. As in his representational paintings, there is an equalization of illusion and paint. In those paintings, he reduces worldly images to mere incidents of Art.
For example, filtered shower head maker Jolie recently said it would have pass along some of the anticipated costs from the tariffs to consumers. In a recent email to customers, the company said ...
Amy Qin described his thicket-filled abstract landscapes as "haunting". [7] Darryl Wee wrote that the 2011 exhibition of works by Zeng at the Gagosian Gallery 's Hong Kong branch was the highlight, referring to Man and Meat (1993) as "a disquieting allegory of frenzied, winner-take-all capitalism in contemporary China."