Word: painter
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...show was organized by Signa's three painter-directors, John Little, Elizabeth Parker, Alfonso Ossorio, each of whom holds a respectable niche in the expressionist movement. "We thought of this theme," said Ossorio, whose Reconciler is one of the exhibit's highlights, "because we knew that among our group many were trying to put on canvas the very essence of human experiencing. That is what we mean when we say [as Pollock used to] 'to get into the painting.' There is nothing detached or eccentric about our work. It is a total commitment, and once expressed...
Jean Dubuffet, the only Ecole de Paris painter whose painting philosophy they felt matched their own. Their final choices ranged from Elaine de Kooning's near realistic portrait of husband Willem to the abstract Black Forms by East Hampton's John Little, in which a human form can be seen with some imagination...
...eleventh of twelve children, Giacomo had little formal training, after the third grade went to work as a stonecutter, house painter, plasterer. He eventually managed to save for a month's trip to Paris, where he spent nights on park benches, days in the Louvre. In 1938 he turned out the first of his now famous cardinal series. "They interested me not because of their religious content," he says, "but because of their form and line. In a way they are my abstractions." Last year Manzù, who destroys the mold after a single cast, created what he considers...
...editors and visiting writers to depart by dropping six feet from a side window into a stone courtyard below. Unlike its austerely printed rivals, Review early decided to print drawings and illustrate its stories, enlisted as art editor William Pène du Bois, son of the late U.S. Painter Guy Pène du Bois...
From the splashes of Pollock and De Kooning to the finely executed color planes of Rothko. the movement has a wide range of identifiable styles. Each painter produces his own subjective expression without regard for what it communicates. The absence of any recognizable visual imagery has struck many critics and philosophers, like Theologian Paul Tillich, as a cult of meaninglessness, proof of "the emptiness of our existence in industrial society." Other critics have an entirely different perspective, see in the abstract-expressionist breakthrough the opening of a brave, new, unfettered world of art. Worcester Museum Director Daniel Catton Rich finds...