LYRICAL ABSTRACTION- away from the geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions in colours which were softer and more vibrant. superficially their style looks like abstract expressionism, Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint. However the styles are markedly different. there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility. The differences with Colour Field Painting are more subtle today because many of the Colour Field painters evolved into Lyrical Abstractionists. The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, seeing painting as the bringing together of a sensation of bright colours. Any informal style of art (even if not original) that spoke about the multiple facades and complexities of issues of life. They were lyrical expression of real-life gritty emotional stories. The art reflected the insecurities & uncertainties of the time. Superficially their style looks like abstract expressionism. Like, the direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint. However the styles are markedly different. By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art. Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting. There is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.
The British realist artist and teacher, William Menzies Coldstream. The surfaces of Coldstream's paintings carry many small horizontal and vertical markings, where he recorded these coordinates so that they could be verified against reality. He was a founder and member of the Euston Road School in London. This was a group of artists who worked in a new realist style at the end of the 1930s. This influential art school promoted a style of carefully observed and objective naturalism of austere towns-cape, landscapes and interiors. They were consciously reacting against avant-garde styles and asserting the importance of painting traditional subjects in a realist manner. This attitude was largely based on a political agenda to create a widely understandable and socially relevant art. The painting shows St Pancras Station, London, from 1937. There’s a sort of anxiety in the painting which comes from a repression of feeling. It’s odd because the muddiness is also a characteristic of the later, expressive, paintings of the School of London. The paintings don’t look the same, but they are each equivocal in their way. William Townsend was one of the artist's post-war London landscapes. The capturing of light at the moment between dusk and darkness echoes Whistler and others but has a gritty realism that offered a new perception of urban landscape. The composition has a strong spatial tension, balancing the mass of water against the press of the industrial fringe, the pontoon, barges and tug. Sir Lawrence Gowing Tom Carr specialised predominantly in hunting scenes, mainly of the Northern Hunts Objects on a shelf (oil on canvas) in 1975-8 by Rodrigo Moynihan. In the 1930s he gained a reputation as a pioneer of abstract painting in England, but became attracted by social realism and became associated from 1937 with the Euston Road School. This influential art school promoted a style of carefully observed and objective naturalism of austere towns-capes, landscapes and interiors. They were consciously reacting against avant-garde styles and asserting the importance of painting traditional subjects in a realist manner. This attitude was largely based on a political agenda to create a widely understandable and socially relevant art. The British artist, (Edwin-John-)-Victor-Passmore was perhaps the most influential lyrical ‘abstract’ artists working in Britain in the 1950s and 1960s. His combination of willful line and amorphous shapes has enabled him to capture the nature of abstract art and to create magnificent examples of constructivist simplicity. He liked the system that created an exhibition environment in its own right that also played on the abstract layouts and relationships that were created between panels. Although the panels were static, new experiences of panel groupings were available to the spectator passing through them – the viewer’s mobility gave them the opportunity to generate their own compositions. If we take a sheet of paper and scribble on it vigorously we become involved in the process of bringing into being something concrete and visible which was not there before. The shape and quality of what we produce is the outcome of forces both objective and subjective: a particular tool, a rotary action and a human impulse. The more we concentrate on this operation the more we are drawn into it both emotionally and intellectually. But as the line develops organically, in accordance with the process of scribbling, we find ourselves directing its course towards a particular but unknown end; until finally an image appears which surprises us by its familiarity and touches us as if awakening forgotten memories buried long ago. We have witnessed not only an evolution, but also a metamorphosis. Georg Baselitz Peter Lanyon, in 1937, met Adrian Stokes, who is thought to have introduced him to contemporary painting and sculpture and who advised him to go to the Euston Road School, where he studied for four months under Victor Pasmore. He took up gliding as a pastime and used the resulting experience extensively in his paintings. “It becomes evident through the course of this exhibition that in Lanyon’s eyes everything held value, regardless of externally perceived hierarchies. This sensibility is visible in the range of both physical and conceptual material input into his work: from using found boards as painting surfaces, and found materials for the constructions he made alongside the paintings, to all the found information about art, life, pictorial space and psychology that he digested with vigour and energy throughout his career.” “Bacon has admitted…that one of his goals is to meet the challenge of a violent age by reviving in a meaningful modern form the primal human cry, and to restore to the community a sense of purgation and emotional release”. Bacon was a child as World War I came to a close, and began painting in earnest as World War II ramped up; he came of age and matured in a society forced to reconcile with the horrors of both conflicts. Let abstract image convey raw feelings and sensation: “One wants a thing to be as factual as possible and at the same time as deeply suggestive—or deeply unlocking of areas of sensation—other than simple illustration of the object that you set out to do. It’s an attempt to bring the figurative thing up onto the nervous system more violently and more poignantly."
Poul KjærholmPK24 Chaise Longue Chair Hans WegnerArne Jacobsen
0 Comments
|
AuthorI am interested in unfolding scene design, character design and image design; representing contemporary narrative strategy, narrative shot and narrative style. The flowing images, which combine aesthetics and ideology. NoticeThis site contains copyrighted material for purposes that constitutes 'fair use'; and has not always been specifically authorized by the copyright owner. No fee is charged, and no money is made off this site. If you wish to use this copyrighted material for purposes of your own that go beyond 'fair use,' you must obtain permission from the copyright owner.
Archives
February 2022
Categories |