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Post by pieter on Sept 4, 2010 5:18:22 GMT -7
Gunter Fruhtrunk
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Post by pieter on Sept 4, 2010 5:27:02 GMT -7
Al Held
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Post by pieter on Sept 4, 2010 5:29:51 GMT -7
Michael Loew
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Post by pieter on Sept 4, 2010 5:35:15 GMT -7
Barnett Newman
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Post by pieter on Sept 4, 2010 13:42:50 GMT -7
Ad Reinhardt
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Post by pieter on Sept 4, 2010 13:45:52 GMT -7
Jack Reilly
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Post by pieter on Sept 4, 2010 13:53:57 GMT -7
Bridget RileyBlaze 1 1962 Emulsion on Hardboard 43x43Bridget Riley was born in 1931 at Norwood, London, the daughter of a businessman. Her childhood was spent in Cornwall and Lincolnshire. She studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Riley has exhibited widely since her first solo show in 1962. Among numerous exhibitions, she was included in the 1968 Venice Biennial where she won the International Prize for painting. Riley began painting figure subjects in a semi-impressionist manner, then changed to the Neo-Impressionist technique of Pointillism around 1958, mainly producing landscapes. The same year she was deeply impressed by the large Jackson Pollock exhibition at the Whitechapel Art Gallery in London. In 1960, working initially in black and white, she evolved a style in which she explored the dynamic effects of optical phenomena. These so-called 'Op-art' pieces, such as " Fall", 1963, produce a disorienting physical effect on the eye. Riley taught children for two years before joining the Loughborough School of Art, where she initiated a basic design course in 1959. She then taught at Hornsey School of Art, and from 1962 at Croydon School of Art. She worked for the J. Walter Thompson Group advertising agency from 1960, but gave up teaching and advertising agency work in 1963-4. After a major retrospective in the early Seventies, Riley began to travel extensively. Up until early 1980 she had been working on her ' curve' paintings, but these came to an end after a particularly inspiring sojourn in Egypt. Her extensive exploration of color and contrast began after this. In 1983 she designed a mural made up of soothing bands of blue, pink, white and yellow for the Royal Liverpool Hospital. In the same year, she made her first set for the ballet 'Color Moves' first performed at the Edinburgh Festival in 1983. Three years later she met the postmodern ' Simulationist' painters Philip Taaffe and Ross Bleckner, and was inspired to introduce a diagonal element to her work, thus adding another dimension to her fascination with the juxtaposition of colors. Bridget Riley is one of Britain's best-known artists. Since the mid-1960s she has been celebrated for her distinctive, optically vibrant paintings which actively engage the viewer's sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting. Riley is acclaimed as one of the finest exponents of Op Art, with her subtle variations in size, shape and position of blocks within the overall pattern. Her work is characterized by its intensity and it's often disorientating effect. Indeed the term 'Riley sensation' was coined to describe this effect of looking at the paintings, especially her early black and white pictures. Riley is fascinated with the act of looking and in her work aims to engage the viewer not only with the object of their gaze but also with the actual process of observation. Shadow Play, 1990." For me Nature is not landscape, but the dynamism of visual forces - an event rather than an appearance - these forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles." Bridget Riley. Though her work is abstract, the optical experiences obtained through viewing her work seem surprisingly familiar. During her childhood, when she lived in Cornwall, she formed an acute responsiveness to natural phenomena. In particular, the effects of light and color in the landscape. Though her mature work does not proceed from observation, it is nevertheless connected with the experience of nature. Of her paintings, she has commented: 'the eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.' This parallel relation between Riley's art and nature has underpinned the development of her work, coloring the way it forms both an exploration and a celebration of a fundamental human experience: sight. www.karinsanders.com/bridgetriley.htmen.wikipedia.org/wiki/Bridget_Riley
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Post by pieter on Sept 4, 2010 14:07:17 GMT -7
Alexander Rodchenko, de l’Aménagement Construction n ° 8
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Post by pieter on Sept 4, 2010 14:14:55 GMT -7
528 × 480 - Leon Polk Smith, Oh Happy Day (Constellation series)
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Post by pieter on Sept 4, 2010 14:23:56 GMT -7
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Post by karl on Sept 4, 2010 14:28:50 GMT -7
Pieter
For as not an artist or even enough skill to water paint a barn, but, that poise of artist: Bridget Riley is a head turner....The lady has a talent of poise and quite photogenic...
Karl
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Post by pieter on Sept 4, 2010 14:29:20 GMT -7
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Post by pieter on Sept 4, 2010 14:37:40 GMT -7
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Post by pieter on Sept 4, 2010 14:47:27 GMT -7
Bridget Riley is a head turner....The lady has a talent of poise and quite photogenic... Karl We agree on this great British artist. Most artists I like of the second half of the 20th century are American. But there are a few European artist I like to. Bridget Riley is one of them. Other European artists I like are Martial Raysse, Anselm Kiefer and Gerhard Richter. And a lot of other European artists ofcourse. Polish, Russian, Italian, German, Dutch, French, British and South-African too. Pieter
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Post by karl on Sept 4, 2010 15:45:56 GMT -7
Pieter
I do admire you as an artist, for you have the time for draw out of composition with your painting as your medium. With the photography, it is only one moment of exposure, then that moment is then disappeared for ever.
Some years past, I was to attend school of photography in Hamburg for my work. It was immensely gratifying to the senses at that time. What I was to notice, was the subtle differences between the painter as art, and of photography. For each is a different medium, but similar in prospective.
That what I found with difficulty, was the capture of expressions of people.
It is relatively easy for Illustrative capture of objects as with fashion, for both is simple and mechanical with the use of light and shadow.
What I found of great difficulty, is the capture at the exact moment, the flash of expression exhibited by the person at that moment of exeleration...
Karl
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