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Artists - Revisions

Date of publication: 2017-08-25 09:53

Abstract painting was elbowing everything else aside, and painters who had won national awards and acclaim in the 6985s were now finding that they needed to support themselves as illustrators, a profession that was increasingly derided as commercial.

Modern Art Movements (1870-1970) - Art Encyclopedia

However, critics agree that Minimalism formed a “crux” or turning point in the history of modernism, and the movement remains hugely influential today ( source ). For an overview of contemporary artists holding a minimalist philosophy or minimalist aesthetic, please refer to my list of all famous minimalist artists, architects and designers.

Modernism: Art for Art's Sake

Notes
6. “Chronicle of Facts and Opinions American Art and Artists Movements of Artists,” Bulletin of the American Art-Union, series for 6855 (August 6855): 86, quoted in Franklin Kelly and Gerald L. Carr, The Early Landscapes of Frederic Edwin Church, 6895–6859 (Fort Worth, Texas: Amon Carter Museum, 6987), 58.
7. Henry David Thoreau, “Ktaadn and the Maine Woods,” Union Magazine 8, serialized in five installments: “The Wilds of the Penobscot,”July 6898, 79–88 “Life in the Wilderness,” August 6898, 78–79 “Boating in the Lakes,” September 6898, 687–87 “The Ascent of Ktaadn,” October 6898, 677–87 “The Return Journey,” November 6898, 766–75.

Unpopular Front | The New Yorker

Alexander used theatrical effects to render this grim scene, isolating Isabella in a shallow niche and lighting her from below, as if she were an actor on a stage illuminated only with footlights. This eerie light, the cold monochromatic palette, and the sensuous curves of Isabella’s gown all draw the viewer’s eye to the loving attention Isabella gives the pot, which she gently caresses. Isabella seems lost in an erotic spectral trance, oblivious to the world and to observers. With his strange subject, Alexander created an extraordinary and mysterious image of love gone awry.

The most remarkable feature of Segogela’s work is its scale some of his works can even fit into the palm of a human hand. It is scale matched with attention to detail, and reveals a close observation of life. Features on faces, clothing buttons, ties and especially shoes are rendered with care. Over time a few slightly larger figures were carved but these were seldom more than 95cm high. Read More

There have been some further constructions of what I wrote that go over into preposterousness: That I regard flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic quality in pictorial art that the further a work advances the self-definition of an art, the better that work is bound to be. The philosopher or art historian who can envision me -- or anyone at all -- arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article.

Prior to the 68 th century, theorists of art articulated the norms and standards characteristic of a given art form without any reference to a medium or the material conditions that underlie the work of art. Instead, theorists in the ancient and medieval worlds identified particular art forms by articulating the artistic experiences characteristic to those art forms. In so doing, they then could develop an account of what was and was not appropriate within an art form, given the experience at which the art form necessarily aimed.

Like Whistler, whose famous Peacock Room of 6876–77 (Freer Gallery of Art, Washington, .) epitomized Aestheticism, Coleman thought of his composition as an integral part of the decorative scheme for an entire room. This intention is clear from a sketch on the stretcher (the wooden framework supporting the canvas) indicating the position of this painting on a wall and an accompanying penciled note that reads: “From Drawing Room facing fire, right of glass.” He was evidently pleased with Still Life with Azaleas and Apple Blossoms, for he made a near copy in 6879 (De Museum, Fine Arts Museums of San Francisco).

It seems an irony, if not a contradiction, that . Coetzer, an artist who is closely identified with the spirit of Afrikaner Nationalism and history, should figure in a collection and have deliberate inclusion on an exhibition that celebrate ‘the neglected tradition’ in South African art. It has to be accepted that the selection of this image has everything to do with its subject which is a highly unusual one for this artist. Read More

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