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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, First World War to 1960 > Abstract Expressionism
Painting and Understanding Abstract Art is a practical book on how
to paint abstracts but it also explains how to approach and
understand abstract art. It moves the teaching of art from a doing
level of painting a certain subject in a particular medium to a
thinking level of 'what am I doing when I paint?' and 'what am I
trying to say in this painting?' Using practical exercises with
explanatory text, John Lowry develops the thinking and doing
processes together and leads the reader to a greater understanding
and appreciation of this most exciting art genre. Advice on moving
from figurative painting towards abstraction Tools to abstraction
explained - simplifying and exaggerating; eliminating curves and
straights; changing colours, lines and items ; emphasising positive
and negative shapes; and using contrast Practical exercises to help
develop your own style and understand the techniques of the masters
Overview of the lives and times of artists involved in the
stage-by-stage evolution from realism to abstraction
"Forget ordinary stationery! teNeues, the luxury German publisher,
transforms notecards, journals, puzzles and even clipboards into
works of art, with its latest lineup highlighting paintings by
celebrated names such as Vincent Van Gogh, Frida Kahlo, Jean-Michel
Basquiat and Claude Monet." - Life & Style Magazine Our
notecard set features Vasily Kandinsky's Variegation in the
Triangle in dynamic greens, yellows and reds with our gold foil
accent touches. Vasily Kandinsky was a master of abstraction in
it's earliest stages and brought bright geometrics to play in space
on the canvas - with the concept that geometry is spiritual and
alive, this painting was done during his Bauhaus years. The 4x5
notecards are blank inside, perfect for all occasions & adorned
with painterly foil accents.
Jean-Michel Basquiat's bold, grafitti style work titled: Mitchell
Crew from 1983 is reproduced in our luxe hardcover Mini Notebook
with black edge pages. Our Mini Notebooks are full colour hardcover
pocket sized books featuring special features like painted edge
accents. The paper is lightly printed with a dot-grid, perfect for
note taking, list making and doodling. Very portable and
eye-catching in lots of designs. We love Jean-Michel Basquiat's
Skull (Mitchell Crew) art.
What did it mean for painter Lee Krasner to be an artist and a
woman if, in the culture of 1950s New York, to be an artist was to
be Jackson Pollock and to be a woman was to be Marilyn Monroe? With
this question, Griselda Pollock begins a transdisciplinary journey
across the gendered aesthetics and the politics of difference in
New York abstract, gestural painting. Revisiting recent exhibitions
of Abstract Expressionism that either marginalised the artist-women
in the movement or focused solely on the excluded women, as well as
exhibitions of women in abstraction, Pollock reveals how theories
of embodiment, the gesture, hysteria and subjectivity can deepen
our understanding of this moment in the history of painting
co-created by women and men. Providing close readings of key
paintings by Lee Krasner and re-thinking her own historic
examination of images of Jackson Pollock and Helen Frankenthaler at
work, Pollock builds a cultural bridge between the New York
artist-women and their other, Marilyn Monroe, a creative actor
whose physically anguished but sexually appropriated star body is
presented as pathos formula of life energy. Monroe emerges as a
haunting presence within this moment of New York modernism, eroding
the policed boundaries between high and popular culture and
explaining what we gain by re-thinking art with the richness of
feminist thought. -- .
This is the most thorough and detailed monograph on the artwork of
Raymond Jonson. He is one of many artists of the first half of the
twentieth-century who demonstrate the richness and diversity of an
under-appreciated period in the history of American art.
Visualizing the spiritual was one of the fundamental goals of early
abstract painting in the years before and during World War I.
Artists turned to alternative spirituality, the occult, and
mysticism, believing that the pure use of line, shape, color, light
and texture could convey spiritual insight. Jonson was steadfastly
dedicated to this goal for most of his career and he always
believed that modernist and abstract styles were the most effective
and compelling means of achieving it.
What did it mean for painter Lee Krasner to be an artist and a
woman if, in the culture of 1950s New York, to be an artist was to
be Jackson Pollock and to be a woman was to be Marilyn Monroe? With
this question, Griselda Pollock begins a transdisciplinary journey
across the gendered aesthetics and the politics of difference in
New York abstract, gestural painting. Revisiting recent exhibitions
of Abstract Expressionism that either marginalised the artist-women
in the movement or focused solely on the excluded women, as well as
exhibitions of women in abstraction, Pollock reveals how theories
of embodiment, the gesture, hysteria and subjectivity can deepen
our understanding of this moment in the history of painting
co-created by women and men. Providing close readings of key
paintings by Lee Krasner and re-thinking her own historic
examination of images of Jackson Pollock and Helen Frankenthaler at
work, Pollock builds a cultural bridge between the New York
artist-women and their other, Marilyn Monroe, a creative actor
whose physically anguished but sexually appropriated star body is
presented as pathos formula of life energy. Monroe emerges as a
haunting presence within this moment of New York modernism, eroding
the policed boundaries between high and popular culture and
explaining what we gain by re-thinking art with the richness of
feminist thought. -- .
Our Small Bullet Journals are slim paperback notebooks with
dot-grid or lined pages and are the perfect place to make your
list, jot ideas or doodle. 120 lined pages. Pages edged with indigo
dip-dyed edges. Exposed binding lays flat. We choose the best
images from well-known classic and contemporary fine artists, plus
talented emerging illustrators and designers from around the globe.
Hilma af Klint (1862-1944) was a Swedish artist. Her abstract
artworks, may featuring bold colours, geometric, and free form
shapes, were created as visual representations of af Klint's
spiritual experiences. These avant-garde works are now widely
considered to be among the first pieces of the Abstract art
movement.
teNeues NYC Stationery is proud to share our newest offering,
classic Playing Cards with our signature style curated from museum
art and illustrations from our favourite artists around the world
printed on embossed, premium blue-core card stock in a gift box
with flip-top magnetic closure. Group X, No. 1, Altarpiece by Hilma
af Klint is a dynamic painting by this largely unsung prolific fine
artist, painted over 100 years ago. She was so forward thinking and
beyond her contemporaries that we are only beginning to appreciate
her talent now. Our little portable box is giftable and great for
travel, fits in any bag and the magnetic closure keeps the cards
together between games. Standard deck of 54 playing cards including
2x joker cards Full-colour, richly -printed artwork on embossed,
blue-core card stock Giftable flip-top box with magnetic closure
Box measures: 69 x 95 x 25 mm Hilma af Klint (1862-1944) was a
Swedish artist. Her abstract artworks, may featuring bold colours,
geometric, and free form shapes, were created as visual
representations of af Klint's spiritual experiences. These
avant-garde works are now widely considered to be among the first
pieces of the Abstract art movement.
An in-depth exploration of Malevich's pivotal painting, its context
and its significance Kazimir Malevich's painting Black Square is
one of the twentieth century's emblematic paintings, the visual
manifestation of a new period in world artistic culture at its
inception. None of Malevich's contemporary revolutionaries created
a manifesto, an emblem, as capacious and in its own way unique as
this work; it became both the quintessence of the Russian
avant-gardist's own art-which he called Suprematism-and a milestone
on the highway of world art. Writing about this single painting,
Aleksandra Shatskikh sheds new light on Malevich, the Suprematist
movement, and the Russian avant-garde. Malevich devoted his entire
life to explicating Black Square's meanings. This process
engendered a great legacy: the original abstract movement in
painting and its theoretical grounding; philosophical treatises;
architectural models; new art pedagogy; innovative approaches to
theater, music, and poetry; and the creation of a new visual
environment through the introduction of decorative applied designs.
All of this together spoke to the tremendous potential for
innovative shape and thought formation concentrated in Black
Square. To this day, many circumstances and events of the origins
of Suprematism have remained obscure and have sprouted arbitrary
interpretations and fictions. Close study of archival materials and
testimonies of contemporaries synchronous to the events described
has allowed this author to establish the true genesis of
Suprematism and its principal painting.
Employing an interdisciplinary approach, this book breaks new
ground by considering how Robert Motherwell's abstract
expressionist art is indebted to Alfred North Whitehead's highly
original process metaphysics. Motherwell first encountered
Whitehead and his work as a philosophy graduate student at Harvard
University, and he continued to espouse Whitehead's processist
theories as germane to his art throughout his life. This book
examines how Whitehead's process philosophy-inspired by quantum
theory and focusing on the ongoing ingenuity of dynamic forces of
energy rather than traditional views of inert substances-set the
stage for Motherwell's future art. This book will be of interest to
scholars in twentieth-century modern art, philosophy of art and
aesthetics, and art history.
This lively introduction tells the ever-evolving story of abstract
art, tracing its history from the early 1900s right up to the
present day. Emerging out of western movements such as Cubism and
Expressionism, abstract art quickly became a global phenomenon,
changing the face of modern and contemporary art. Stephanie Straine
weaves accounts of well-known pioneers with fascinating insights
into lesser-known ground-breakers from across the world. Although
abstraction in art is often associated with vagueness or the
forbiddingly theoretical, for many artists the abstract represents
pure simplicity. Straine's vivid discussion demystifies the work of
over seventy innovative artists - from Wassily Kandinsky to Emma
Kunz and Rana Begum - and develops our appreciation of their
conceptual approach. A reference section includes a timeline of key
exhibitions of abstract art, suggestions for further reading and a
glossary of art terms.
A book of heroic dimensions, this is the first full-length
biography of one of the greatest artists of the twentieth
century--a man as fascinating, difficult, and compelling as the
paintings he produced. Drawing on exclusive access to Mark Rothko's
personal papers and over one hundred interviews with artists,
patrons, and dealers, James Breslin tells the story of a life in
art--the personal costs and professional triumphs, the convergence
of genius and ego, the clash of culture and commerce. Breslin
offers us not only an enticing look at Rothko as a person, but
delivers a lush, in-depth portrait of the New York art scene of the
1930s, '40s, and '50s--the world of Abstract Expressionism, of
Pollock, Rothko, de Kooning, and Klein, which would influence
artists for generations to come.
"In Breslin, Rothko has the ideal biographer--thorough but never
tedious, a good storyteller with an ear for the spoken word, fond
but not fawning, and possessed of a most rare ability to comment on
non-representational art without sounding preposterous."--Robert
Kiely, "Boston Book Review"
"Breslin impressively recreates Mark Rothko's troubled nature, his
tormented life, and his disturbing canvases. . . . The artist's
paintings become almost tangible within Breslin's pages, and Rothko
himself emerges as an alarming physical force."--Robert Warde,
"Hungry Mind Review"
"This remains beyond question the finest biography so far devoted
to an artist of the New York School."-Arthur C. Danto, "Boston
Sunday Globe"
"Clearly written, full of intelligent insights, and
thorough."--Hayden Herrera, "Art in America"
"Breslin spent seven years working on this book, and he has
definitely done his homework."-Nancy M. Barnes, "Boston
Phoenix"
"He's made the tragedy of his subject's life the more
poignant."--Eric Gibson, "The New Criterion"
"Mr. Breslin's book is, in my opinion, the best life of an American
painter that has yet been written . . . a biographical classic. It
is painstakingly researched, fluently written and unfailingly
intelligent in tracing the tragic course of its subject's tormented
character."--Hilton Kramer, "New York Times Book Review," front
page review
James E. B. Breslin (1936-1996) was professor of English at the
University of California, Berkeley, and author of "From Modern to
Contemporary: American Poetry, 1945-1965" and "William Carlos
Williams: An American Artist."
Traditional art is based on conventions of resemblance between the
work and that which it is a representation "of". Abstract art, in
contrast, either adopts alternative modes of visual representation
or reconfigures mimetic convention. This book explores the relation
of abstract art to nature (taking nature in the broadest sense-the
world of recognisable objects, creatures, organisms, processes, and
states of affairs). Abstract art takes many different forms, but
there are shared key structural features centered on two basic
relations to nature. The first abstracts from nature, to give
selected aspects of it a new and extremely unfamiliar appearance.
The second affirms a natural creativity that issues in new,
autonomous forms that are not constrained by mimetic conventions.
(Such creativity is often attributed to the power of the
unconscious.) The book covers three categories: classical modernism
(Mondrian, Malevich, Kandinsky, Arp, early American abstraction);
post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi,
Arte Povera, Michaux, postmodern developments); and the broader
historical and philosophical scope.
In Dragging Away Lex Morgan Lancaster traces the formal and
material innovations of contemporary queer and feminist artists,
showing how they use abstraction as a queering tactic for social
and political ends. Through a process Lancaster theorizes as a
drag-dragging past aesthetics into the present and reworking them
while pulling their work away from direct representation-these
artists reimagine midcentury forms of abstraction and expose the
violence of the tendency to reduce abstract form to a bodily sign
or biographical symbolism. Lancaster outlines how the geometric
enamel objects, grid paintings, vibrant color, and expansive
installations of artists ranging from Ulrike Muller, Nancy Brooks
Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and
Shinique Smith offer direct challenges to representational and
categorical legibility. In so doing, Lancaster demonstrates that
abstraction is not apolitical, neutral, or universal; it is a form
of social praxis that actively contributes to queer, feminist,
critical race, trans, and crip politics.
Hailed as the first American-born art movement to have a worldwide
influence, Abstract Expressionism denotes the non-representational
use of paint as a means of personal expression. It emerged in
America in the 1940s, with lead protagonists including Jackson
Pollock, Philip Guston, Robert Motherwell, Mark Rothko, and Willem
de Kooning. Abstract Expressionism spawned many different stylistic
tendencies but two particularly prominent sub-categories: action
painting, exemplified by de Kooning and Pollock, and color field
painting, made most famous by Rothko. Throughout, Abstract
Expressionists strove to convey emotions and ideas through the
making of marks, through forms, textures, shades, and the
particular quality of brushstrokes. The movement favored
large-scale canvases, and embraced the role of accident or chance.
With featured works from 20 key Abstract Expressionist artists,
this book introduces the movement which shifted the center of art
gravity from Paris to New York and remains for many the golden
moment of American art. About the series Born back in 1985, the
Basic Art Series has evolved into the best-selling art book
collection ever published. Each book in TASCHEN's Basic Art History
series features: approximately 100 color illustrations with
explanatory captions a detailed, illustrated introduction a
selection of the most important works of the epoch, each presented
on a two-page spread with a full-page image and accompanying
interpretation, as well as a portrait and brief biography of the
artist
Taking a radically new approach to the history of abstract
painting, Pepe Karmel applies a scholarly yet fresh vision to
reconsider the history of abstraction from a global perspective and
to demonstrate that abstraction is embedded in the real world.
Moving beyond the orthodox canonical terrain of abstract art, he
surveys artists from across the globe, examining their work from
the point of view of content rather than form. Previous writers
have approached the history of abstraction as a series of movements
solving a series of formal problems. In contrast, Karmel focuses on
the subject matter of abstract art, showing how artists have used
abstract imagery to express social, cultural and spiritual
experience. An introductory discussion of the work of the early
modern pioneers of abstraction opens up into a completely new
approach to abstract art based around five inclusive themes - the
body, the landscape, the cosmos, architecture, and the repertory of
man-made signs and patterns - each of which has its own chapter.
Starting from a figurative example, Karmel works outwards to
develop a series of narratives that go far beyond the established
figures and movements traditionally associated with abstract art.
Each narrative is complemented by a number of 'featured' abstract
works, which provide an in-depth illustration of the breadth of
Karmel's distinctive vision. A wide-ranging examination of topics -
from embryos to the surface of skin, from vortexes to waves,
planets to star charts, towers to windows - is interwoven with
detailed analysis of works by established figures like Joan Miro
and Jackson Pollock alongside pieces by lesser-known artists such
as Wu Guanzhong, Hilma af Klint and Odili Donald Odita.
I carry my landscapes around with me focuses on American abstract
artist Joan Mitchell's large-scale multipanel works from the 1960s
through the 1990s. Mitchell's exploration of the possibilities
afforded by combining two to five large canvases allowed her to
simultaneously create continuity and rupture, while opening up a
panoramic expanse referencing landscapes or the memory of
landscapes. Mitchell established a singular approach to abstraction
over the course of her career. Her inventive reinterpretation of
the traditional figure-ground relationship and synesthetic use of
color set her apart from her peers, resulting in intuitively
constructed and emotionally charged compositions that alternately
evoke individuals, observations, places, and points in time. Art
critic John Yau lauded her paintings as "one of the towering
achievements of the postwar period." Published on the occasion of
the eponymous exhibition at David Zwirner New York in 2019, this
book offers a unique opportunity to explore the range of scale and
formal experimentation of this innovative area of Mitchell's
extensive body of work. It not only features reproductions of each
painting in this selection as a whole, but also numerous details
that allow an intimate understanding of the surface texture and
brushwork. In the complementing essays, Suzanne Hudson examines
boundaries, borders, and edges in Mitchell's multipanel paintings,
beginning with her first work of this kind, The Bridge (1956),
considering them as both physical and conceptual objects; Robert
Slifkin discusses the dynamics of repetition and energy in the
artist's paintings, in relation to works by Monet and Willem de
Kooning, among others.
Traditional art is based on conventions of resemblance between the
work and that which it is a representation "of". Abstract art, in
contrast, either adopts alternative modes of visual representation
or reconfigures mimetic convention. This book explores the relation
of abstract art to nature (taking nature in the broadest sense-the
world of recognisable objects, creatures, organisms, processes, and
states of affairs). Abstract art takes many different forms, but
there are shared key structural features centered on two basic
relations to nature. The first abstracts from nature, to give
selected aspects of it a new and extremely unfamiliar appearance.
The second affirms a natural creativity that issues in new,
autonomous forms that are not constrained by mimetic conventions.
(Such creativity is often attributed to the power of the
unconscious.) The book covers three categories: classical modernism
(Mondrian, Malevich, Kandinsky, Arp, early American abstraction);
post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi,
Arte Povera, Michaux, postmodern developments); and the broader
historical and philosophical scope.
An intimate look at Ben Nicholson's everyday inspirations
Throughout his career, Ben Nicholson (1894-1982) transformed
everyday homewares into extraordinary experiments in abstract art.
Nicholson's studio was filled with objects that inspired him. From
patterned mocha-ware jugs and cut glass goblets to spanners,
hammers and chisels, these ordinary personal possessions were a
source of almost endless inspiration to the artist. This book
brings together for the first time Nicholson's paintings, reliefs,
prints and drawings alongside his rarely seen personal possessions
and studio tools. It traces how the artist's style developed, from
his early traditional tabletop still lifes to his later abstract
works. Still life was at the heart of Nicholson's artistic
practice. Through these humble items, he began to experiment with
form and color. His early works in particular owed inspiration to
his father, the painter William Nicholson. The book traces the
artistic and personal influences on Nicholson's evolutionary still
life style from the 1920s to the 1970s. It explores his time with
Winifred Nicholson and Barbara Hepworth, as well as his encounters
with other Modernist greats, Pablo Picasso and Piet Mondrian.
Distributed for Pallant House Gallery
Illuminating reflections on painting and drawing from one of the
most revered artists of the twentieth century 'Thank God for yellow
ochre, cadmium red medium, and permanent green light' How does a
painter see the world? Philip Guston, one of the most influential
artists of the twentieth century, spoke about art with unparalleled
candour and commitment. Touching on work from across his career as
well as that of his fellow artists and Renaissance heroes, this
selection of his writings, talks and interviews draws together some
of his most incisive reflections on iconography and abstraction,
metaphysics and mysticism, and, above all, the nature of painting
and drawing. 'Among the most important, powerful and influential
American painters of the last 100 years ... he's an art world hero'
Jerry Saltz, New York Magazine 'Guston's paintings make us think
hard' Aindrea Emelife, Guardian
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