Joan Mitchell (1926-1992) was a pre-eminent painter of the Abstract Expressionist generation, and, along with Lee Krasner and Helen Frankenthaler, one of the few female painters of her era to gain critical and public acclaim. She came to attention in the early 1950s but only recently has her work won the recognition it truly merits. Her large-scale gestural paintings register a great acuity of feeling and tremendous vitality. Leaving America documents Joan Mitchell's exhibition at Hauser and Wirth Gallery, London, which featured works made between 1960 and 1965, after she had relocated from New York to France. In the paintings of this period Mitchell moved away from the all-over style and bright palette of earlier compositions, instead deploying more sombre hues and dense central masses of color. The brushwork in these paintings is nonetheless full of zest, the paint flung and squeezed on to the canvases, spilling and spluttering across surfaces and smeared on by hand.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei