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The Art of Richard Diebenkorn, with essays by John Elderfield, Ruth E. Fine, and Jane Livingston. The Whitney Museum of American Art, 1997, ISBN 0-520-21257-6; De Antonio, Emile and Tuchman, Mitchell. Painters Painting A Candid History of The Modern Art Scene, 1940–1970, Abbeville Press 1984, ISBN 0-89659-418-1
Abstract illusionism differed from traditional Trompe-l'œil (fool the eye) art in that the pictorial space seemed to project in front of, or away from, the canvas surface, as opposed to receding into the picture plane as in traditional painting. Primarily, though, these were abstract paintings, as opposed to the realism of trompe l'oeil. By ...
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
Canvas prints are used as final output for fine art pieces or for reproduction of other types of two dimensional art (drawings, paintings, photograph, etc.). Canvas prints are often used as a cheaper alternative to framed artwork as there is no glazing required and the stretcher is not usually visible, so the prints do not need to be varnished ...
Thornton Willis, Red Wall, 1969, acrylic on canvas, 103 in × 108 in (260 cm × 270 cm). Lyrical Abstraction was the title of a circulating exhibition which commenced at the Aldrich Contemporary Art Museum , Ridgefield , Connecticut from April 5 through June 7, 1970, [ 19 ] and ended at the Whitney Museum of American Art, New York, May 25 ...
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]
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