Art of Central Asia
18-548: The Washington Color School , also known as the Washington, D.C., Color School , was an art movement starting during the 1950s–1970s in Washington, D.C. , in the United States, built of abstract expressionist artists. The movement emerged during a time when society, the arts, and people were changing quickly. The founders of this movement are Morris Louis and Kenneth Noland , however four more artists were part of
36-682: A dominant presence in the Washington, D.C., visual art community through the 1960s into the 1970s. During spring and summer 2007, arts institutions in Washington, D.C., staged a citywide celebration of color field painting , including exhibitions at galleries and museums of works by members of the Washington Color School. In 2011, a group of Washington art collectors began the Washington Color School Project , to gather and publish information about
54-419: Is a tendency or style in art with a specific art philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art , when each consecutive movement was considered a new avant-garde movement. Western art had been, from
72-425: The "modern" period called contemporary art. The postmodern period began during late modernism (which is a contemporary continuation of modernism), and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to "modern art" each consecutive movement was often considered a new avant-garde . Also during the period of time referred to as "modern art" each movement
90-494: The Adjacent Area at The Corcoran Gallery of Art from November 12 to December 19, 1965. The Eighteenth Area Exhibition at The Corcoran from November 18 to December 31, 1967 again featured artists including de Looper, Corkery, Downing, Gilliam and Kainen. The six artists participating in the exhibition, Washington Color Painters (1965) were called the first generation. The group is thought to have expanded as it achieved
108-491: The Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality ( figurative art ). By the end of the 19th century many artists felt a need to create a new style which would encompass the fundamental changes taking place in technology, science and philosophy ( abstract art ). According to theories associated with modernism and also
126-526: The Washington Color School artists, including Morris Louis, Kenneth Noland, Howard Mehring , Thomas Downing , and Gene Davis . Berkowitz did not like the label "Washington Color School" and often rejected it for his own work. Many of the Washington Color School artists exhibited at the Jefferson Place Gallery in Washington, D.C., originally directed by Alice Denney starting in 1957 (later owned and directed by Nesta Dorrance). Along with
144-686: The artist would pour a thinned painting medium onto canvas and let it sit over time. The result would be a stain in the canvas with no visible traces of conventional application, such as brush strokes. In 1954, art critic Clement Greenberg introduced Morris Louis to painter Helen Frankenthaler , who was working in as a, "proto–color field painter". Her painting, Mountains and Sea (1952) had an impact on Louis and many other painters in Washington, D.C., and they borrowed Frankenthaler's process of staining raw canvas with color. In 1960, Clement Greenberg wrote in Art International magazine about
162-424: The concept of postmodernism , art movements are especially important during the period of time corresponding to modern art . The period of time called "modern art" is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art . Postmodernism in visual art begins and functions as a parallel to late modernism and refers to that period after
180-483: The history of the color painters and abstract art in Washington. Though some of them were not born in Washington, D.C., the artists exhibited together and represent Washington as a new hub for the visual arts. Art movement Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of the Americas Art of Oceania An art movement
198-479: The initial art exhibition in 1965. The Washington Color School, a visual art movement, describes a form of image making concerned primarily with color field painting , a form of non-objective or non-representational art that explored ways to use large solid areas of paint. The Washington Color School artists painted largely non-representational works, and were central to the larger color field movement. Though not generally considered abstract expressionists due to
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#1732790601847216-454: The meaning of the new art then being produced. In the visual arts , many artists, theorists, art critics, art collectors, art dealers and others mindful of the unbroken continuation of modernism and the continuation of modern art even into the contemporary era, ascribe to and welcome new philosophies of art as they appear. Postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as
234-402: The notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact; or just a passing fad. The term refers to tendencies in visual art , novel ideas and architecture , and sometimes literature . In music it is more common to speak about genres and styles instead. See also cultural movement ,
252-400: The orderliness of their works and differing motivating philosophies, many parallels can be drawn between the Washington Color School and the abstract expressionists. Minimally, the use of stripes, washes, and fields of single colors of paint on canvas were common to most artists in both groups. A common technique used in the Washington Color School was "soak staining" or just "staining", in which
270-513: The original Washington Color School painters, a second generation also exhibited at Jefferson Place Gallery. (6/69, “Four Minds With It” Wash Star; Benjamin) The Washington Color School originally consisted of a group of painters who showed works in an exhibit called the Washington Color Painters at the now-defunct Washington Gallery of Modern Art in Washington, from June 25 to September 5, 1965. The exhibition's organizer
288-628: The two local Washington, D.C., artists, Morris Louis and Kenneth Noland. In his writing he labeled them as "color painters". Around 1945, painter Leon Berkowitz , poet Ida Fox Berkowitz , and artist Helmut Kern [ Wikidata ] founded the Washington Workshop Center (also known as the Workshop Art Center or Washington Workshop Center for the Arts). The center became a key gathering place and gallery for
306-738: Was Gerald "Gerry" Nordland and the painters who exhibited were Gene Davis, Morris Louis, Kenneth Noland, Howard Mehring, Thomas Downing, and Paul Reed . This exhibition, which subsequently traveled to several other venues in the United States, including the Walker Art Center , solidified Washington's place in the national movement and defined what is considered the city's signature art movement, according to art historians and journalists alike. After their initial benchmark exhibition, Davis, Mehring, and Reed were joined by Timothy Corkery, Willem de Looper , Sam Gilliam , and Jacob Kainen at The Seventeenth Area Exhibition of Artists of Washington and
324-437: Was seen corresponding to a somewhat grandiose rethinking of all that came before it, concerning the visual arts. Generally there was a commonality of visual style linking the works and artists included in an art movement. Verbal expression and explanation of movements has come from the artists themselves, sometimes in the form of an art manifesto , and sometimes from art critics and others who may explain their understanding of
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