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Still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by [[Monochrome painting]] and [[Hard-edge painting]] inspired by [[Ad Reinhardt]], [[Barnett Newman]], [[Milton Resnick]], and [[Ellsworth Kelly]]. Artists as diversified as [[Al Held]], [[Larry Zox]], [[Frank Stella]], [[Larry Poons]], [[Brice Marden]] and others explored the power of simplification. The convergence of [[Color Field]] painting, [[Minimal art]], [[Hard-edge painting]], [[Lyrical Abstraction]], and [[Postminimalism]] blurredthe distinction between movements that became more apparent in the 1980s and 1990s. The [[Neo-expressionism]] movement is related to earlier developments in [[Abstract expressionism]], [[Neo-Dada]], [[Lyrical Abstraction]] and [[Postminimal]] painting.
 
====Neo-expressionism Neoekspresionizam ====
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[[File:Kiefer.jpg|[[Anselm Kiefer]], 1983, European [[Neo-expressionism]]]]
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U kasnim 1960-im, [[Philip Guston]], slikar [[apstraktni ekspresionizam|apstraktnog ekspresionizma]], pomogao je u vođenju prelaza sa apstraktnog ekspresionizma na [[neoekspresionizam]] u slikarstvu, napustivši takozvanu "čistu apstrakciju" apstraktnog ekspresionizam u korist predstavljanja raznih ličnih simbola i objekata na način sličniji crtanima. Ta djela bila su nadahnjujuća za novu generaciju slikara zainteresovanih za oživljavanje izražajnog slikovitog izlaganja. Njegova slika ''Slikanje, pušenje, jedenje'' (eng. ''Painting, Smoking, Eating'') iz 1973. godine, prikazana u galeriji iznad, primjer je Gustonovog konačnog i zaključnog povratka predstavljanju.
In the late 1960s the [[abstract expressionist]] painter [[Philip Guston]] helped to lead a transition from abstract expressionism to [[Neo-expressionism]] in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. These works were inspirational to a new generation of painters interested in a revival of expressive imagery. His painting ''Painting, Smoking, Eating'' 1973, seen above in the gallery is an example of Guston's final and conclusive return to representation.
[[File:gustonphilip.jpg|thumb|left|upright|[[Philip Guston]], 1972, pre-pred[[Neo-expressionismneoekspresionizam]]]]
In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and [[UK|Britain]]. These movements were called [[Transavantguardia]], [[Neue Wilde]], [[Figuration Libre]],<ref>{{cite web|url=http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=188 |title=Tate online glossary |publisher=Tate.org.uk |date= |accessdate=2014-08-08}}</ref> [[Neo-expressionism]], the school of London, and in the late 80s the [[Stuckists]] respectively. These painting were characterized by large formats, free expressive mark making, figuration, myth and imagination. All work in this genre came to be labeled [[neo-expressionism]]. Critical reaction was divided. Some critics regarded it as driven by profit motivations by large commercial galleries. This type of art continues in popularity into the 21st century, even after the art crash of the late 1980s. [[Anselm Kiefer]] is a leading figure in European [[Neo-expressionism]] by the 1980s, (see ''To the Unknown Painter'' 1983, in the gallery above) Kiefer's themes widened from a focus on [[Germany|Germany's]] role in civilization to the fate of art and culture in general. His work became more sculptural and involves not only national identity and [[collective memory]], but also [[occult]] [[symbol]]ism, [[theology]] and [[mysticism]]. The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life.
<!-- Commented out: [[File:Rothhorse2.jpg|thumb|upright|[[Susan Rothenberg]], 1979, [[Neo-expressionism]]]] -->

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