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Albertella
by golyho (Jun 16, 2011)Over one hundred notes of mine have made obvious that I am being attracted by simplified abstract painting. I wrote on old masters like Kandinsky and Malevits as well as recently active artists. Evaluations and quality of artworks are different of course since artists are not alike either. What I miss however is notes, generation of discussion here in the website. Perhaps my comments are not interesting, not provocative and fail to induce any further comments or discussions or talks like that. Excuse me for that kind of fairly private sentences which hardly fits here but come out from my mind and a bit depressed mood.
Albertella, Jorge Ars Metallica 20 Date: Not dated Movement: Art Now / Recent Theme: Abstract Technique: Mixed technique
Gray strips over a rectangle stained black can open a wide range of possibilities. Strips can be stained alike, or different in darkness, some dark gray are close to the black others are just the opposite, light and closer to the white. There are choices concerning proportions, lengths and wideness of forms. Strips can be set either vertically or horizontally , centered or shifted toward one of the edges of the canvas. Purpose of the above incomplete listing is a kind of help in orienting you on what to be evaluated when percepting admittedly simple messages of examples of Minimal Art. Within the admittedly narrow range of possibilities one may consider the composition shown here as an example representing limited complexity.
Ars Metallica 15 Date: Not dated Movement: Art Now / Recent Theme: Abstract Technique: Mixed technique.
Complexity is increased here. Firstly, there are more than a single color and secondly width of strips are varied. Setting of them is different too, and a larger number of them run horizontally while the two wider blacks are vertical. Blacks strips crossing each other leave perception of layers open. Some strips covering others at crossings may belong to a layer a bit in the front and render the others into a layer a bit in the back. It is far however from suggesting space strongly since black crossings with black brake and disturb perception of space. On the other hand, redish rectangle put in the center with two blues nearby, all the three being horizontal also organize the composition.
Ars Metallica 5a Date: Not dated Movement: Art Now / Recent Theme: Abstract , Mixed technique.
We face differences of course when finding circles instead of strips as important parts of a composition. Again, there is a range of possibilities in setting circles around a single central point such as concentrically, since some may be pushed up or down, left or right from the others. Single circle kept in the center of a square reflects more calmness than a single circle pushed aside closer or at a distance from the borders . Complxity grows with the number of circles either of the same or varied sizes. Shifts generate tension. Here we see three concentric circles with sharp contours. However simplicity is counteracted by three other circles, all remaing still concentric but with much softer contours. These three uncover another idea in composing concentric circles since they are produced by narrow strips arranged carefully in keeping radiation correct over all 360 degrees. Lengths of lines a bit varied but perception of concentric circles made by the sets still remains undisturbed.
Old Pipes Date: Not dated Movement: Art Now / Recent Theme: Abstract Technique: Acrylic.
Vertical horizontal and angled directions of these strips make the set interesting and quite complex. There is no background and any center of the composition is missing. Strips fail to respect the borderlines in terms of their continuation, some suggest running over the borders keeping their directions determined within the borderlines. Wideness and colouring of strips are varied. Range of variations is kept limited within a fairly narrow borderlines since there are not too many kind of strips in terms of widths. Considering all that I would not tell this composition as an example of paintings belonging to the movement of Minimal Art.
Shreeve
by golyho (Jun 6, 2011)She belongs to the class of Minimal Art characterized by a bit complicated patterns. As you presumably know better then myself, that within the relatively narrow limits of Minimal Art there is room for rich varieties ranging from monochrome often geometrical forms to multicolor fairly complicated patterns. Some prefer one others take a different approach.
Shreeve, Liz Black Moon Date: Not dated Movement: Minimal Painting Theme: Abstract Technique: Mixed technique.
I suppose you agree with me, that this nearly monochrom composition represents a variety with complicated pattern. Albeit individual elements of the pattern are simple, the two kinds appears mirroring each other. However the large number of repetition makes the composition fairly interesting. For me the dark, nearly black colour is a bit far from my own taste, but others like you may feel differently.
City Sunset Date: 2008 Movement: Minimal Painting Theme: Abstract Technique watercolour.
This interesting artwork seems at a first glance to cross the borderline separating relief variant of sculpture form conventional painting over a sheet. Alternatiovely, the suggestion of third dimension is pure visual illusion reselted by painstaking manual work with a fine brush. I vote for the second alternative because the apparent shadows of the individual elements come in different color. Light source from a certain direction should produce grey shadows independently of the pink or yellow color of the lighted elements.
Warm Date: Not dated Movement: Minimal Painting Theme: Abstract Technique: Watercolour.
In this case it appears more obvious , that this composition is indeed three dimensional. The sizes of a bit folded paper sheet stained are gradually diminuted and the angle of camera accentuates the small colored „peaks”. The soft shadow is gray all over and seems darker at the bottom than at the top.
Orchard Date: Not dated Movement: Minimal Painting Theme: Abstract Technique: Watercolour.
Another variant of the three dimensional „paintings” which can well be considered as painted relief. You can, however, argue telling that the third dimension is an illusion only. This time fairly simple pieces of paper seem to be glued over a rigid surface and painted following complicated rules repetitively. Lengths of components also change gradually getting shorter toward the top.
Blue Depths Date: Not dated Movement: Minimal Painting Theme: Abstract Technique: Watercolour.
This nice vibrating composition does not come forward entering the third dimension. Illusion of vibration is due both the irregular adjustment of hues and putting dark grey next to blue in some occasion and separating them by steps of light gray strips.
Kissmer
by golyho (May 20, 2011)As it is written in that portal, Kissmer's expressive and exaggerated interpretation of detail is a trait that permeates the body of his art, which has been described as sensual, provocative, technical, and mysterious. The interplay of folds, texture, and light have the effect of transforming a commonplace subject into something extraordinary. The result for the observer is not just a visual experience, but also a uniquely personal journey. I agree and have nothing to add.
I pick nudes of his works
Kissmer, Willi Das Lila Hemd Date: Not dated Movement: New-Figuration / New-Academism Theme: Body Technique: Oil on wood.
I suppose no comment is needed for full joy of that beutiful artwork. I should however note that Kissmer certainly masters oil painting at high level. Handling of pattern of textiles reminds me to old maslers like Ingres.
Grey Kneeling Date: Not dated Movement: New-Figuration / New-Academism Theme: Nude Technique: Other/Unknown.
The legend says, that the technique is unknown. However it seems for me, that the original background might be a kind of photograph, working over later. Otherwise it is to be apprecited how he is able to reproduce photographic details by painting. The details include very small things, far to be important, like again foldings of textiles.
Sitting with Bandana Date: Not dated Movement: New-Figuration / New-Academism Theme: Nude Technique: Other/Unknown,
Obviously he is fascinated by breasts of selected models shown sensually in his works. Since the faces is covered, hidden, or the head is omitted entirely of his paintings, it seems for me, that the models introduce themselves by exposing upper half of their lovely body instead as shoving face and especially eyes.
Untitled Date: Not dated Movement: New-Figuration / New-Academism Theme: Body Technique: Other/Unknown.
He is apparently experimenting with so called out of focus kind of compositions. This technique still remins fashionable in a special avenue of photographing nudes and some other themes like close up on flowers.
Cotter
by golyho (May 16, 2011)Simplistic drive exists in sculpture as well as in painting. Some combines simple or even ready made things with a bit worked on components others leave them act alone. Big size fits in open air environment, smaller ones put usually inside or even onto bookselfs.
Cotter, Maud In a short time Date: 2002 Movement: Art Now / Recent Theme: Other/Unknown Technique: Sculpture.
This seems for me an example of a so called statue made from a picked up object. No trace of working upon, not even a layer of stain. I myself do not particularly like it, but my taste does not matter and does not judge anything either.
The evidence of things Date: 2001-2002 Movement: Art Now / Recent Theme: Other/Unknown Technique: Sculpture.
I am not sure, but assume that the three (or only two??) things are a set of folded nets of metal vires. The darkness might be simply due to rust or broken up of light among the small openings of the nets, but can have some different explanation as well. The simple columns appear to come in large size – and size in turn may have esthetic importance too.
I like being alone Date: 2000 Movement: Art Now / Recent Theme: Other/Unknown Technique: Sculpture.
This object seems to come also from a metal network, painted thick or covered by something like plaster. This technique produces an interesting effect making the origin obscure. Alternatively but unlikely it is a network made by textile fibers. I can not say anythin further upon.
More than Anything Date: 2004 Movement: Art Now / Recent Theme: Other/Unknown Technique: Sculpture.
This offers a good way to make it evident that Ms Cotter is also good in building-sculping. It should have been a painstaking work to produce the parts and subsequently assemly them into a single big composition which is far to be simple. Next it has likely been a simpler task to find a good way (and source) of lighting the composition, in this case by likely three lamps.
Bagi
by golyho (May 14, 2011)It has been a long time when novel simple abstract artwork has been put to be seen here to that website. I need them to inspire my blog-writing ambitions. and hide my poor education ont he wast majority of art-history.
Bagi, Laszlo jr. Mr. Date: 2010 Movement: Abstract Expressionism Theme: Abstract Technique: Computer print.
Computer prints – as result of graphic work on the screen, is a quite contemporary avenue of art. It is far away from painsteking manual work with pencils or a brush – even if rulers or a compass can be used to make things a little bit easier. This particular print suggests me a strong influence of Vasarely – who also experimented with prints but computers were not available for him then.
op-art1180 Date: Not dated Movement: Abstract Expressionism Theme: Abstract Technique: Computer print.
He appears to make obvious being attracted by Vasarely and some others of the strong Op-Art Movement. I do not think, that works like that is far easier to compose than others made on paper, but the great help of computers can well be used. It is far easier to correct, copy and paste by that machines than with manual works. Also gradual modulations of colors and forms is easier to kept within narrow pathways.
op-art165 Date: 2008 Movement: Abstract Expressionism Theme: Abstract Technique: Computer print.
It is a bit too much for me to re-do and vary Vasarely famious themes. Computers aside, the composition is closely similar to many of the master best works. The idea is the same: modulate color gradually and combine it with rotation of a simple form. That is all. It is easy to tell but hard to make, right?
op-art737 Date: 2009 Movement: Abstract Expressionism Theme: Abstract Technique: Computer print.
Here is an example similar again to graphics by Vasarely. Of course I do not intend to diminish importance and especially the quality of these artworks. Especially since Vasarely himself encouraged fellows to use simple parts of his so called ABC – and compose novel artworks still within the narrow borders of optical art. It was – I suppose – obvious for him himself, that novel product following his guideline would get quit similar to his own works – and help keeping his influence alive.
Noguchi
by golyho (May 13, 2011)He is one of my favourit! It has been a great privilege to see and touch some of his granit statues. There is a place called Kings Storm in Massachusetts, USA, where a number of artworks from the big size category are exhibited far away from each other in a huge park. There are two Noguchi there (and several by David Smith, Henry Moore, Barbara Hepworts – among many others not known for me.
Noguchi, Isamu Grey Sun Date: 1967 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
You who might have red some of my earlier comments should remember my love toward circles. Plenty of them is available among others in Kandinsky’s works. Circles are good theme for carving too, and this is a nice example. It is a joy for me, that neither the inner negative form nor the outside border are irregular circles. Very nice grey stone to carve from! It should be appreciated that sharp contrast exists between the rectangular post and the circular artwork.
Lekythos Date: 1958 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
For contrast here is a rectangular column carved in a variety of depths on the sides. Once again, he picked a very nice stone to work with. For my, the stone used is in itself a very important part of all carvings – as it has several times told to us by H. Moore.
Kaki-persimmons Date: 1982 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
He has produced important works casted from metal too, apparently bronze in this case. Alternativey it might be made of aluminium making dark by time and special direction of light. Like int he case of stone carvings of him, the forms of components are fairly simple but put together in a way to result in a rather complicated composition.
Red Cube Date: 1968 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
He has apparently experimented with other metals, in this case likely steel stained brightly and mounted in a way to show some delicate balance. Works like that are not for us to sit next to it and enjoy the scene. Instead it tells simple things for those who just passing by running after their own private business.
Composition Date: 1943 Movement: Abstract Expressionism Theme: Abstract Technique: Sculpture.
Finally here is an example of his experiments with quite complicated forms. For me, influence of Jean Arp is obvious, whom or at least whose works he easily learned in Paris. I am not sure but suppose only that he used two different kinds of stones fixed together in a way not needing any kind of further support .
Gough
by golyho (Apr 17, 2011)It should be obvious by now, that I prefer simple or even oversimplified artworks as places to stop while walking alongside avanues of painting. The end point is Malevitch who exhibited first among others a monochrome black stained canvas early int he Twentiest century. Others like Kandinsky kept a distance from that end and used simple geometrical forms in combination with soft and bright colors. It means that squares and circles were both present on a single canvas. His color sensitivity was highly developed. Another purist was Mondrian, who tolerated in his well defined world only black strips or thick lines angled directly when crossing each other – and stained the resulted rectangles with the basic colors like for example red or blue .
Combination of simple pure geometry with traces of free-hand brush strokes and/ or complicated irregular forms has always been a challenge. Which of them is the more important in a given artwork? Should them be balanced or not? If balanced, should the composition lack main motives entirely softening the border between front and background? There are involved many more similar problems of the endless world of esthetics.
Gough, Craig Alan Arrangement with Gold Date: 2006 Movement: Art Now / Recent Theme: Abstract Technique: Other/Unknown.
I selected that painting of Gough to be a good starting point where the simple geometry of monochrome forms combine with a relatively complex, obviously free-hand painting of a set of forms which fail to cross the borders of the light gray monochrome. Obviously in that part the gray has a clearly defined function as being the background for the free-running curves. But does this apply over the whole composition including the large other monochromes? Should them be percepted as an other layer, a bacground for the light gray background? Still I feel that the simple geometrical elements play a secondary role in that particular composition .
Arrangement in Red Date: 2006 Movement: Art Now / Recent Theme: Abstract Technique: Oil on canvas.
Here again it remains obscure what is more important: network of line or the warm red. The title accents the red – but what are you percepting? Do you feel being free in the action of pertception and joy – or accept in general to follow a line coming from the title of compositions? Some titles orient well but how about titles like Compsition IX or others like that.
April Date: 2006 Movement: Art Now / Recent Theme: Abstract Technique: Oil on canvas.
Here occurs what I used to consider being close to the opposite end of simplistic painting. At that end all simple geometrical forms disappears, monochrome spots are reduced to minimuam and complexity takes over. Obviously this end means the opening toward e very complex styles including photo-realistic paintings or the movement of Abstract Expressionism.
Esplanade Date: 1984 Movement: Art Now / Recent Theme: Cityscape Technique: Charcoal.
Complex compositions are not necesserily combine with colors. Graphical art is simpler than colored art – and in that sense it is more abstract considering distance between a three dimensional colored object of the real world and its presumed depiction over a cartoon or canves. There exists a highly sophisticated art of black on white - representing another branch of art in general.
Slaattelid
by golyho (Mar 26, 2011)As I mentioned several times before, it is to be appreciated that traces of Minimal Art still alive in recent artworks. Admittedly there are artists who show their talent in various styles and therefore produce different kinds of artworks some of which fits well into the major category of Minimal Art. Slaattelid represents a good example.
Slaattelid, Mari The Detail Is a Face Date: 2003 Movement: Art Now / Recent Theme: Abstract Technique: Oil on glass.
Two colors, soft modulation of blue to white and nothing else. Quite minimal indeed. One might consider the blue corresponding to the sky – since it is on the top. And then the white might represent clouds – but forget this, no need to that kind of interpretation. It is a lovely painting without any relationship with so called real world. The technique of painting over glass helps in promoting softness.
White Surrender Date: 2002 Movement: Art Now / Recent Theme: Abstract Technique: Mixed technique.
It was an often explored theme painting one or two monochrome squares. Here we see a near but not completely monochrome surface on he right, where the whitish surface is surrounded by red lines and a soft modulation in the direction of from red to white . The left side is completely monochrom and would fit into the Color Fields style. Lovely simplicity is to be appreciated.
The Voice (annonunciation) Date: 1999 Movement: Art Now / Recent Theme: Abstract Technique: Oil on metal.
It is obviously closely related to Malevits’s black square painting. However the metal surface left apparently untouched on the right while the left contains what looks like a soft photo print of a landscape with a church. The composition contains remarkable ideas to promote brutal effect of the dominant black rectangular.
Agitator Date: 2008 Movement: Art Now / Recent Theme: Other/Unknown Technique: Mixed technique.
She seems to be attracted strongely by softness. In this case the near white larger part is overpainted by hardly visible brush strokes and – on the left side - a complicated pattern of small dots. There is a large circle with soft contour. The bottom border of whitish motif is fairly sharp – which, in my mind, accents softness seen elsewhere.
4th Framework Date: 2008 Movement: Art Now / Recent Theme: Abstract Technique: Oil on glass.
This painting would hardly fit into the concept of Minimal Art. Rather, it represent an advanced example of Constructivism elaborated by Piet Mondrian long time ago. He combined however the black lines (strips) with surfaces of rectangles or triangles painted by monochrome primary stains Neither monchrome surfaces nor primary colors appear here in that remarkaby complicated composition.
I stop here selecting from her works mounted on this portal. I strongly advise instead to consult her other remarkable compositions which would not fit at all to Minimal Art movement and fail to contain pure and simple geometry.
Tomescu
by golyho (Mar 10, 2011)Born in Rumania she certainly received elementary and also perhaps college education there, before moving to Australia. Rumania is strong in art, including besides native Rumanians many artist with Hungarian origin, and also coming from a major Saxon community who lived there before recently moving in large populations to Germany. Hungarians are closest to me but I acknowledge native Rumanian artists as well. Besides, blood of several populations mixes over the centuries.
Tomescu, Aida Eden II Date: 2010 Movement: Expressionism Theme: Abstract Technique: Mixed technique.
I highly recommend you to look details of her numerous artwork available in that portal. Influence of Mathieu and Pollock is strong – and she has likely followed others too who are considered to represent some or other aspects of what we call and know as Abstract Expressionism.
Tethys IV Date: 2010 Movement: Expressionism Theme: Abstract Technique: Mixed technique.
This is one of her artworks showing clearly what I consider her strength. She apparently works on two layers. One is a kind of inhomogeneous background, covered in part by fastly painted brush strokes with poor orientation but fixing power and speed she is certainly able to produce. This approach results in traces of influential activity over a well done perhaps even overworked (colored) canvas. The second active layer is not too colored, mostly simly red. Obviously red is easily associated with strength agressivity and properties like these. Forms however suggest for me her close relationship with calligraphy. Not the versions better known in Europe, namely Greek and Latin – but Asian, like Chinese and Japanese. At least my own limited knowledge makes me feel like that. I am unfortunately fail to be in the position to convince you – instead only to talk you of my assumption. But I can cite and reproduce other examples to support my feeling.
Eden I Date: 2010 Movement: Expressionism Theme: Abstract Technique: Mixed technique.
Here you are another example on what I feel a careful and fruitful combination of white and blue background overpainted by fast brush strokes cluse to what I call traces of calligraphy. These fast strokes document her activity, kind of action painting by many others who also belong to the group called Abstract Expressionists. Before moving forward in the world of fantasy, you might imagine two quite different techniques. One is careful, minusulous working alongside the rigorous rules of geometry. Lines must be strait, following strict directions, triangles, circles squares must be carefully designed. These would belong to Geometrical Abstract or Cobstructivism. Obviously far away from what she makes: fast freely running curves. I tend to assume that these kind of free working can NOT be performed slowly carefully. She makes at least part of the background slowly, and then overwork on the prepared surface fastly. Then she likely put aside the result for a while, and decide later on the dilemma of well – done or instead a large scale failure. The latter can be overpainted again and again while the former is good enough to show or even exhibit.
Tethys Date: 2010 Movement: Expressionism Theme: Abstract Technique: Mixed technique.
Here is an example of what I feel only a backgroung ready to accept – or even waiting for the fast calligraphic strokes. Large and empty central part and slightly worked details near the dges. Coloring is simple even poor. Admittedly, this kind of inhomogenous color field invites working our fantasy to fill up emptiness.
Arboresque Date: 2010 Movement: Expressionism Theme: Abstract Technique: Mixed technique.
This would easily been considered as an example of opposity approach. The background is difficult to see, one might consider it as missing entirely. We see a very rich network of red, blue and yellow traces of fast handwork. There is still a carefully maintained „rule” – since the right side is richer that the left one. She likely used well diluted stain and let it flow down over the canvas, as far as the blue color is concerned. It is not difficult to detect, that the most superficial layer is the red which covers both the blue and the yellow traces. The brightness of red together the richness of traces makes me feel that this artwork belongs to the group of red ones.
Burkus
by golyho (Mar 5, 2011)
It is exceptional, that I make an effort to write on someone who shows only a single example oh her-his works. But the beauty of the single work I am writing about explains my enthusiasm. At a first glance upon the low magnificatiation reprduction I missed what is perhaps the most important part. Coloring and the softness – I would say feathery love – were what take me to get immediately a higher magnification view. And then, only then were I able to percept the almost completely hidden nude. Beautiful full breasts and almost nothing else. Especially nothing else worked (painted) out in details. Only soft light warm colors and irradiating erotics. Feathery love, something soft touchy kisses all over, reminiscence upon my own youth – full with love and womanly beauties. I stop writing here to let you enjoy the details which words can not say. Often like before in my lengthy blog, the words are weak to describe. I hope you would not simply say, that my limited knowledge prevents me to try to write all I feel while looking upon that very nice artwork.
