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Judith Murray (born 1941) is an American abstract painter based in New York City. [1] [2] [3] Active since the 1970s, she has produced a wide-ranging, independent body of work while strictly adhering to idiosyncratic, self-imposed constants within her practice.
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 ...
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.
Digitally created art printed on canvas. A canvas print is the result of an image printed onto canvas which is often stretched, or gallery-wrapped, onto a frame and displayed. Canvas prints are used as the final output in an art piece, or as a way to reproduce other forms of art.
The term “Hard-edge painting” was coined in 1959 [3] by writer, curator, and Los Angeles Times art critic Jules Langsner, along with Peter Selz, to describe the work of several painters from California who adopted a knowingly impersonal paint application and delineated areas of color with particular sharpness and clarity.
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
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