Word: impastoed
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...Copley the sensitivity as a colorist which characterizes all of his later work. Though Blackburn had a great influence on Copley, Copley's individuality as a painter was never obscured; the characteristic sharp contrasts of light and dark (chiarascuro effects), the bold, saturated colors, and the free, heavy impasto (paint thickness) persist throughout most of his career...
...period from about 1763 to 1767 Copley developed a heavier impasto and a freer abbreviated brush stroke which is highly reminiscent of the late portraiture of Frans Hals. By 1765, Copley finally had his technique under control; his work became more straightforward and simple as if clearing away the unnecessary baggage in preparation for a new excursion...
...destroyed all of his pre-World War II paintings, which, judging from a few surviving drawings, were representational. War marked his second phase, forcing his art away from nature into abstraction. It is his late paintings (see color), which combine slabs of bright paint (the thick impasto on one canvas weighs upwards of 300 bs.) with recognizable imagery, that won him international regard. The combination seemed fresh in the inbred postwar School of Paris abstraction that had reduced paint into drab pastry, a ritualistic manufacture of croûtes (crusty surfaces) that lacked the restless energy of American abstract expressionism
Modest Cuixart, 39, cousin of Antoni Tàpies, paints in a richly detailed impasto that he calls "the new baroque." Once a member of Dau al Set, he left to dabble in textile designs, returned to share the crown of Catalan craftsmanship with Tàpies. Cuixart says that "a renewal is taking place among those young artists who are distinguished by their absolute independence...
...Indiana is primarily known for his emblematic circles set in plane-geometry shapes like road signs. Their bright, unmixed colors are so unpainterly that his brush stroke cannot be detected, because, as he says, "impasto is visual indigestion." Usually they are ringed with inscriptions: phrases from Melville and Whitman, or commands in broken stencil type such as EAT, HUG, LOVE, DIE, or ERR. These curt verbs, he believes, represent the vocabulary of the American dream, the "optimistic, generous, and naive" philosophy of plenty that is often mistaken for all the philosophy that the U.S. lives...