Action Painting Surrender / HCLFV

author David J Kelly   4 год. назад
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Acrylic painting abstract - Collage, Teer, Pigmente | Acrylmalen abstrakt

In diesem Video zeigt die Künstlerin Erica Wittenwiler - witty - wie ein abstraktes Acrylbild mit Teer (Bitumen) entsteht. Entsprechende Malkurse können Sie in der Malschule witty line | place of art buchen. www.witty-line.ch

How to paint like Franz Kline – Chief (1950) | IN THE STUDIO

Learn how to paint like artist Franz Kline, one of the key figures of the abstract expressionist movement, with IN THE STUDIO instructor Corey D’Augustine. Explore the techniques of other New York School painters like de Kooning, Rothko, and Pollock in MoMA's new free, online course, "In the Studio: Postwar Abstract Painting." Sign up: http://mo.ma/inthestudio Subscribe for our latest videos: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit The Painting Techniques of Franz Kline: Chief Abstract Expressionist New York The Museum of Modern Art, October 3, 2010--April 11, 2011 MoMA.org/abexny Filmed by Plowshares Media Images courtesy of The Franz Kline Estate; Kate Rothko Prizel & Christopher Rothko; Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York Music by Chris Parrello Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz © 2010 The Museum of Modern Art #art #moma #museum #modernart #nyc #education #artist #franzkline #kline #abstract #abstractexpressionism

Actionpainting in Freiburg "Berlin" expressive Malerei Peter Feichter

Bei einer Vorführung in Freiburg aufgezeichnet. Musik: Droika - Human Error

How to paint like Jackson Pollock – One: Number 31, 1950 (1950) | IN THE STUDIO

Learn how to paint like artist Jackson Pollock, one of the key figures of the postwar abstract expressionist art movement, with IN THE STUDIO instructor Corey D’Augustine. Explore the techniques of other New York School painters like de Kooning, Rothko, and Pollock in MoMA's new free, online course, "In the Studio: Postwar Abstract Painting." Sign up: http://mo.ma/inthestudio Subscribe for our latest videos: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join The Painting Techniques of Jackson Pollock: One: Number 31, 1950 Filmed by Plowshares Media Images courtesy of Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York Music by Chris Parrello Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz #art #moma #museum #modernart #nyc #education #artist #abstract #abstractexpressionist #jacksonpollock

How to paint like Willem de Kooning | IN THE STUDIO

Learn how to paint like Willem de Kooning, one of the key artists of the postwar Abstract Expressionist style, also referred to as "action painting," with IN THE STUDIO instructor Corey D'Augustine. Explore the techniques of other New York School painters like Kusama, Rothko, and Pollock in MoMA's new free, online course, "In the Studio: Postwar Abstract Painting." Sign up: http://mo.ma/inthestudio Subscribe for our latest videos: http://mo.ma/subscribe Explore our collection online: http://mo.ma/art Plan your visit in-person: http://mo.ma/visit Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join Over the course of a career lasting nearly seven decades, de Kooning would work through a wide array of styles, eventually cementing himself as a crucial link from New York School painting to European modernism. Physical labor and countless revisions were constants in his work, which ranged from abstraction to figuration, often merging the two. “I never was interested in how to make a good painting…,” he once said. “I didn’t work on it with the idea of perfection, but to see how far one could go…” The female figure was an especially fertile subject for the artist. His paintings of women were among his most controversial works during his lifetime and continue to be debated today. — After conversations with The Willem de Kooning Foundation, MoMA would like to share the following corrections with our viewers: Though many of de Kooning’s paintings have very thick surfaces relative to more traditionally approached paintings, there is no evidence of any painting that has close to the 2 inch thick surface that our video indicates. There is no evidence that de Kooning ever had or used a six foot long brush as indicated in the video. Long brushes were given to de Kooning as gifts, and he likely experimented with them. However, he did not regularly use them. It appears instead that de Kooning often used shorter brushes, such as house painters’ brushes, and regularly walked away from the canvas to look at it from a distance. De Kooning used underdrawings as starting points to generate ideas to explore in painting as opposed to as warming up exercise as indicated in the video. — Education at MoMA is made possible by a partnership with Volkswagen of America. Featuring Corey D'Augustine, Educator and Independent Conservator. The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.  #art #moma #museum #modernart #artist #paint #painting #howtopaint #learntopaint #abstract #dekooning #willemdekooning #abstractart #modernism #modernist

Title: Surrender
Medium: Acrylic on canvas
Size: 50 x 65 inches

http://en.wikipedia.org/wiki/Action_painting

Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract expressionism" interchangeably). A comparison is often drawn between the American action painting and the French tachisme.

The term was coined by the American critic Harold Rosenberg in 1952,[2] in his essay "The American Action Painters",[3] and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them. "Some of the labels that became attached to Abstract Expressionism, like "informel" and "Action Painting," definitely implied this; one was given to understand that what was involved was an utterly new kind of art that was no longer art in any accepted sense. This was, of course, absurd." - Clement Greenberg, "Post Painterly Abstraction".

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