Richard Diebenkorn, The Ocean Park Paintings critically reexamines the celebrated West Coast painter's most compelling achievement. Jack Flam, Distinguished Professor of Art History at the City University of New York, carefully assesses many aspects of Diebenkorn's eminent career - the struggle between realism and abstraction, the discretionary bounds of the actual versus the literal, the synthesis of seen versus felt experience. Professor Flam, a preeminent Matisse scholar, particularly illuminates the historical sources of the Ocean Park paintings in regard to their relation to the original ambitions of modernism. In a career whose apparent contradictory nature has often placed this brilliantly dexterous painter at odds with any art establishment, Diebenkorn has profoundly persevered. The Ocean Park paintings - an ongoing series begun in 1967 - is the body of work most responsible for transforming Diebenkorn from a local painter of both abstract and representational renown into a prominent American artist of international prestige, whose work successfully embodies figurative and abstract principles.
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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
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