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  2. Color field - Wikipedia

    en.wikipedia.org/wiki/Color_field

    An important distinction that made color field painting different from abstract expression was the paint handling. The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied. Color field painting sought to rid art of superfluous rhetoric.

  3. Autumn Rhythm (Number 30) - Wikipedia

    en.wikipedia.org/wiki/Autumn_Rhythm_(Number_30)

    Autumn Rhythm (Number 30) is a 1950 abstract expressionist painting by American artist Jackson Pollock in the collection of the Metropolitan Museum of Art in New York City. [1] The work is a distinguished example of Pollock's 1947-52 poured-painting style, and is often considered one of his most notable works.

  4. Flower paintings of Georgia O'Keeffe - Wikipedia

    en.wikipedia.org/wiki/Flower_paintings_of_Georgia...

    Strand was particularly influential in her development of cropped, close-up images. She received unprecedented acceptance as a female artist from the fine art world due to her powerful graphic images. [6] Depictions of small flowers that fill the canvas suggest the immensity of nature and encourage viewers to looks at flowers differently. [2]

  5. Mountains and Sea - Wikipedia

    en.wikipedia.org/wiki/Mountains_and_Sea

    Mountains and Sea is considered an important precursor to color field painting and has been described as, "the Rosetta stone of color-field." [11] The canvas's impact on the color field movement has been compared to the importance of Claude Monet's Impression, Sunrise to the Impressionist movement. [7] Morris Louis, an abstract expressionist ...

  6. Category:Flower paintings - Wikipedia

    en.wikipedia.org/wiki/Category:Flower_paintings

    Vase of Flowers; Vase of Flowers (van Huysum) A Vase of Flowers (1716) Vase of Flowers and Conch Shell; Vase of Flowers in a Window Niche; Vase with Irises Against a Yellow Background; Vase with Poppies; Vase with White and Red Carnations

  7. The Field (exhibition) - Wikipedia

    en.wikipedia.org/wiki/The_Field_(exhibition)

    The curators acknowledged their bias towards a particular form of abstraction; [12] they included neither artists with established reputations, [1] such as those of the nationalist, or arguably provincial, [13] movements culminating in the 1959 Antipodean Manifesto and exhibition, [11] nor the concurrently practicing expressionist abstractionists John Olsen, Leonard French or Roger Kemp.

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