... striped canvases and metallic paints, producing exhibitions in shiny copper paint as well as a metallic purple sheen. In the previously noted exhibitions, Stella would again push the envelope of 1950s painting by altering the canvases into more unique picture frames. One instance had him producing his flabbergasting stripes on letter-shaped canvases, such as a "T- or a "U- or an "H-. The ... the South African Mine series (1982) was distinguished by an expanded vocabulary of materials and forms and by extremes of pictorial and actual space. Stella's printmaking developed alongside his pa...

• Word Count: 4097
• Approx Pages: 16
• Has Bibliography
• Grade Level: Undergraduate

... with cans of paint, dribbling it on the canvas or flinging it off the brush or splattering it with powerful strokes; hence action-painting. Pollock's work generally has no subject matter other than the expressive explosion of feeling that appears on his canvases within swirls and splatters ... and enlarged Chinese characters. (Tansey and Kleiner 1099) Beyond Kline abstract expressionism moves on through Willem de Kooning, who used the action-painting style as Pollock did to create both pieces of abstract expressionism which were wrought with slashed strokes and harsh movement and other p...

• Word Count: 3402
• Approx Pages: 14
• Grade Level: Undergraduate

... Martin rejected figurative images in attempting to portray her state of mind. In 1967, just as her artistic career was peaking, Martin stopped painting and over the next seven years built herself a house in New Mexico and devoted much of her time to writing and lecturing. This ... on a schema consisting of the interplay of horizontal and vertical lines have been recognized as presaging a number of postmodern art movements, including hard-edge painting, op art, conceptualism, and especially minimalism. But as the poet and critic John Ashbery has pointed out, Agnes Martin's "minimalism" is...

• Word Count: 3087
• Approx Pages: 12
• Grade Level: Undergraduate

... began a body of work he would later call Prouns (Project for the Affirmation of the New). These nonobjective compositions broadened Malevich's Suprematist credo of pure painting as spiritually transcendent into an interdisciplinary system of two-dimensional, architectonic forms rendered in painted collages, drawings, and prints, with both utopian and utilitarian aspirations. Blurring ... the distinctions between real and abstract space, this zone Lissitzky called the "interchange station between painting and architecture. Prouns dwell upon the examination of transparency, opacity, color...

• Word Count: 3313
• Approx Pages: 13
• Grade Level: Undergraduate

... was. Pollack, along with other abstract expressionists such as William DeKooning and Mark Rothko, continued to explore their field with action painting, abstractions and color-field painting, respectively. Abstract expressionism dominated the art world of the late 1940's and 50's. Yet as the 1950's peaked, a new ... - . "Some suggested New Realism based on an analogy between French and American movements- promoted by Pierre Restany. Others suggested Anti-Sensibility Painting but people discredited this name because it "jumped the gun-; The majority of people thought that it was only thou...

• Word Count: 3470
• Approx Pages: 14
• Has Bibliography

... was forced to paint fans and bamboo hanging scrolls for a dollar each to feed his family. (Silbergeld, 307) The paintings that earned him a fate as a "dead tiger" were like his painting of bamboo, Author Jerome Silbergeld explains: Traditional Chinese bamboo paintings had been things of grace and elegance, symbolizing the literary elegance of the old scholar elite. But rather than displaying ... , 310) He struggled to gain admittance to his local artist union, but was denied because of his being named a "contradiction among the people" (Silbergeld, 311) after being accused of painting an...

• Word Count: 2666
• Approx Pages: 11
• Has Bibliography

... art: artist deviate from the immediately recognizable, avoid natural resemblance, leading directly away from the human object and arousing specifically aesthetic emotions. It is not a case of painting something totally distinct from a man, but painting a man with the least possible resemblance to a man. "We are the stuffed men leaning together headpiece filled with straw " (2-4): in the poem, Eliot dehumanizes men, showing them ... ...

• Word Count: 2695
• Approx Pages: 11
• Grade Level: Undergraduate