Search Details

Word: canvases (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
Sort By: most recent first (reverse)


Usage:

Mr. and Mrs. Victor Cattrell of Edinburgh did not much care for the dark, spooky painting of a naked Eve and a leering Death-a legacy from Mrs. Cattrell's uncle that had been hanging in their living room for 15 years. "The most attractive paintings I have are...

Author: /time Magazine | Title: People: Dec. 12, 1969 | 12/12/1969 | See Source »

A GROUP of painters who succeeded Pollock renounced the dramatic mannerisms of the action painters, flattering the canvas further. No longer do you see the artist's hand. Lacking the tensions imposed by a portrayal of the artist's emotions on the canvas, these colorists remove the reference of the...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

Morris Louis, one of the most romantic of the color abstractionists, pours paint on a raw canvas, letting a veil of color soak into the material. Fluid color is freed to run and spread it chooses yet you sense a mind breathing the components into perfect combination.

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

The character of color achieves a more mystical purity in the atmospheric spray paintings of Jules Olitsky. Unfettered by any limits except the edge of the canvas, vaporous colors gradually shift tone across the surface.

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

...structuring color into definite geometric shapes, Minimal Artists give color the permanent stability it lacks in the impressionistic canvases of Olitsky. The smooth unmodulated hue of their minimal works pulls the canvas to an unprecedented flatness. The extensive steady tones glare outwards without suggesting any space for the eye to travel. Though it is difficult to conceive of a flatter picture, it is almost impossible not to see a special relationship between any two colors placed on the same surface. In their simplicity, the chevrons of Noland, thrust across the canvas, are impossible to forget. As the painted surfaces become...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

First | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Next | Last