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28-486: Luminism may refer to Luminism (American art style) , a current in North American painting Light art Luminism (Impressionism) , a neo-impressionist style in painting Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Luminism . If an internal link led you here, you may wish to change

56-797: A better teaching position in the future, the Doolin family moved to Los Angeles shortly after his Sydney show, and Doolin soon enrolled in the MFA program at the University of California, Los Angeles . In 1968, he was asked to participate in The Field , the inaugural exhibition for the reopening of the National Gallery of Victoria . He sent three new paintings which were highly praised by several critics, and subsequently acquired by Australia's three principle art museums. In 1969, he began painting

84-494: A contemplative perception of nature. According to Earl E. Powell , this is particularly visible in paintings by John Frederick Kensett , who shifted the visual concern for landscape to an interest in quietism, making pictures of mood that depict a poetic experience of nature. Furthermore, his painting Shrewsbury River “reduces nature to cryptographic essentials of composition . . . while rarified veils of light, color, and atmosphere reflected in water offer an experience of silence",

112-573: A description akin to the sublime . Similarly, Martin Johnson Heade 's painting Thunder Storm on Narragansett Bay represents the greatness of nature and the sublime arising from an intimate engagement with nature. The artists who painted in this style did not refer to their own work as "luminism", nor did they articulate any common aesthetic philosophy beyond the principles of the Hudson River School. Many art historians find

140-461: A national tour of Australia in 1978, with stops in seven cities. In 1980, on the heels of this latest success and the dissolution of his marriage, Doolin was awarded a three-year Guggenheim Foundation Fellowship , which allowed the artist to relocate to a remote stretch of the Mojave Desert to paint. "The austere beauty of the desert had fascinated him since his hitchhiking trips west in

168-706: A new series of "luminous and ethereal" Artificial Landscapes with a "minimalist aesthetic" known as the Arch Series. Central Street Gallery contacted Doolin in 1970 to mount a second show, and he sent nine of his new Artificial Landscapes. This show was an unqualified critical and financial success. In Los Angeles, Doolin's work became more representational, following his desire to create "more 'traditional' illusionistic paintings from direct observation." The artist spent much of his two years at UCLA "painting illusionistically -- observed reality, dreams, fantasies, and memories." The following year, he became an instructor at

196-581: A young Australian woman. The artist, returning to New York stimulated by his marriage and extended stay in Europe, was now "fiercely determined to be a painter." Returning to New York, Doolin again worked as a commercial artist, painting in his spare time. Inspired by Al Held and other Hard-Edge painters , he began working on a series of "geometric abstract paintings that would become known as Artificial Landscapes." These landscapes dealt with man-made as opposed to natural environments, and "related directly to

224-406: Is an artefact. Luminist paintings tend not to be large to suggestba sense of timeless intimacy. The picture surface or plane is emphasized, recalling primitivism . These qualities are present in different degrees depending on the artist’s work. Novak suggests that luminism is most closely associated with transcendentalism . The difficulty of precisely defining luminism has contributed to over-use of

252-401: The 1950s" and he found inspiration for his art during this period by drawing on the unique elements of the desert landscape. He returned to the urban environment of Los Angeles in 1983, and by the 1990s he had begun documenting the city, painting many of his best known works. In his signature rendering of "negative social spaces -- bus stops, empty billboards, the dry trough of the L.A. River,

280-491: The Arts grants in 1981, 1986, and 1992. Throughout his career, Doolin struggled against "the L.A. art establishment's prejudice against pictorialism and regionalism," but he eventually earned the respect of critics, collectors and fellow artists. Australian writer Peter Carey noted that Doolin was a "risk-taker, [whose] choice of subject matter was often unfashionable." Upon Doolin's death, artist Carl Cheng described him as

308-457: The Hudson River School, such as Frederic Edwin Church. As defined by art historian Barbara Novak , luminist art tends to stress the horizontal, and demonstrates the artist's close control of structure, tone, and light. The light is generally cool, hard, and non-diffuse; "soft, atmospheric, painterly light is not luminist light". Brushstrokes are concealed to minimize recognition that the painting

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336-556: The Western landscape." The artist "spent the first two years sketching and photographing the site from every possible rooftop vantage point, then constructed a highly detailed diagonal composition of a busy intersection." The painting was the principle work of a solo exhibition at the Los Angeles Municipal Art Gallery at Barnsdall Park in 1977, garnering enthusiastic reviews. The piece was then sent on

364-412: The concrete islands between freeway onramps," the artist achieved an unlikely marriage between the "lurid sublimity of California landscape tradition" and "postindustrial apocalyptic melancholy.". Doolin's art work is included in many public and corporate collections and is also represented in numerous books on America." He was the recipient of a Guggenheim Fellowship and three National Endowment for

392-398: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Luminism&oldid=1096069171 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Luminism (American art style) The term luminism

420-511: The natural beauty of Yosemite and the colorful and sometimes gritty cityscapes of San Francisco. In 1954, stationed in Germany with the U.S. Army, Doolin enjoyed his first taste of Europe. This included visits to Munich's Haus der Kunst and Uffizi Gallery in Florence. Discharged from the army in 1957, Doolin moved to New York and worked as a freelance commercial artist in advertising for

448-402: The next four years, creating art in his limited spare time. Despite the cultural stimulation New York offered, Doolin was unsatisfied professionally and artistically, and took on extra work to save money for an extended trip to Europe in 1961. Doolin subsequently embarked on what might best be described as a cultural pilgrimage to some of the major art and historical centers of Europe. The artist

476-459: The places we overlook every day and to recognize that, in spite of its ominous industrial overtones, the city is shot through with a luminous, electric vitality and a psychological potency verging on the mythic." Described as a "master of color and composition," his "evocative, moody paintings teemed with life." Doolin was born in Hartford, Connecticut, and moved with his parents and brother to

504-414: The principles of perspective." Complex perspective would become a dominant motif throughout his career. His father, a successful insurance salesman, wanted his son to follow him in a business career, but in 1950, Doolin applied to the University of Vermont with the intention of pursuing a liberal arts education. However, a teacher encouraged him to apply to Philadelphia's University of the Arts and he

532-455: The streetscapes of his [Greenwich Village] neighborhood - road signs, building walls, darkened doorways, and billboards from the semi-industrial area close to the docks." These works were "often divided horizontally and compartmentalized into blocks of geometric patterns to reflect the flat, bold forms within the urban landscape." The artist achieved a greater sense of artificiality using "harsh, inorganic colors absent from nature." In 1965, at

560-562: The suburbs of Philadelphia when the artist was seven. The New England landscapes he encountered summering in Vermont would later prove influential in his work. During his primary school years, as the U.S. engaged in World War II, he became fixated with images of military hardware and battle scenes. As young as ten years old, the artist "worked through foreshortening issues" [with wing positions in aerial dogfight drawings] and "mastered

588-643: The suggestion of his wife, the couple and their two sons moved to her native Melbourne, where the artist took a teaching position and where in 1966, at Gallery A, he secured his first solo exhibition. The critical response was largely unfavorable. Doolin fared much better in Sydney, a city at that time more receptive to the New York-inspired aesthetic of the period, with a well-received exhibition of his Artificial Landscapes at Central Street Gallery in 1967. Wanting to further his education in order to secure

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616-720: The term "luminism" problematic. J. Gray Sweeney argues that "the origins of luminism as an art-historical term were deeply entwined with the interests of elite collectors, prominent art dealers, influential curators, art historians, and constructions of national identity during the Cold War." Alan Wallach has called for a wholesale rethinking of "luminism" as a historical phenomenon. Characteristics of luminism – such as majestic skies, calm waters, rarefied light, and magnificent landscapes also appear in contemporary American painting. in artists like James Doolin , April Gornik . and Steven DaLuz . The influence of luminism can be seen in

644-458: The term. Luminism shares an emphasis on the effects of light with Impressionism . However, the two styles are markedly different. Luminism is characterized by attention to detail and the hiding of brushstrokes, while impressionism is characterized by lack of detail and an emphasis on brushstrokes. Luminism preceded impressionism, and the artists who painted in a luminist style were in no way influenced by Impressionism. Luminism may also represent

672-569: The university while furthering his exploration of illusionistic painting. Photorealism and Conceptual Art had emerged to become two of the dominant styles during this period, and both of these movements influenced the artist's epic work Shopping Mall. Doolin spent four years (1973–77) working on this piece, "a large-scale, detailed aerial view of the intersection of Arizona Avenue and Third Street in Santa Monica -- which established his reputation as an important contemporary interpreter of

700-572: The works of several American experimental filmmakers including James Benning and Sharon Lockhart , particularly in Benning's Ten Skies (2004) and Lockhart's Double Tide (2009). James Doolin James Doolin (June 28, 1932 – July 22, 2002) was an American painter and muralist best known for his saturated natural and urban southern California landscapes. Los Angeles artist and writer Doug Harvey notes that his paintings allow us "to see

728-606: Was awarded a full scholarship. The University of the Arts "provided him with a strong foundation and a new attitude about the value of art" and he credited the school with fostering his individual style. The wide open spaces and vast scale Doolin encountered on a cross-country trip to the Rocky Mountains in his late teens opened the artist to new possibilities and experiences, and sparked three successive summers of hitchhiking excursions to Chicago and California, respectively. The latter two trips enabled him to assimilate both

756-506: Was introduced by mid-20th-century art historians to describe a 19th-century American style of painting that developed as an offshoot of the Hudson River School . The historian John I. H. Baur identified the style in the late 1940s, calling it "luminism" in a 1954 article. The National Gallery of Art 's landmark 1980 exhibition American Light: The Luminist Movement, 1825-1875 included many artists now primarily associated with

784-624: Was particularly influenced by works of Dutch and Italian Renaissance masters and contemporary abstract artists. Re-energized, Doolin settled into a rented a house on the island of Rhodes and painted, inspired by the mosaics he had viewed throughout southern Europe, and most notably, Ravenna, Italy. His work during this period featured jewel-like patterns and bright colors. The "frontal structure" and "flattened space" of these smaller paintings would become enduring influences in his later work. While in Greece, Doolin met and later married Leslie Edwards,

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