Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell the 2nd and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artist's asthmatic condition, Motherwell was reared largely on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that later emerged as essential characteristics of his abstract paintings (ultramarine blue of the sky and ochre yellow of Californian hills). His later concern with themes of mortality can likewise be traced to his frail health as a child.
Abstract expressionism is a post–World War IIart movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.
Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist.
Background
The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract expressionism" interchangeably). A comparison is often drawn between the American action painting and the French tachisme.
The term was coined by the American critic Harold Rosenberg in 1952, in his essay "The American Action Painters",
and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them. "Some of the labels that became attached to Abstract Expressionism, like "informel" and "Action Painting," definitely implied this; one was given to understand that what was involved was an utterly new kind of art that was no longer art in any accepted sense. This was, of course, absurd." – Clement Greenberg, "Post Painterly Abstraction".
Motherwell is the headquarters for both North Lanarkshire Council, which is one of Scotland's most populous local authority areas, and of Strathclyde Police "N" division. These organisations cover an overall population of 327,000 people (59,000 in Motherwell and Wishaw) throughout the 183 square miles (470km2) of North Lanarkshire.
History
The main Roman road through central Scotland ran along Motherwell’s side of the River Clyde, crossing the South Calder Water on the north west side of today’s town. At this crossing a fort and bath house were erected, but the Roman presence in Scotland did not last much later than this. There were definitely people living in the area from an early point. The name comes from an ancient religious well, the Mother's Well, dedicated to the Virgin Mary. The site of this well is now marked by a plaque on Ladywell Road. The name "Moderwelt" appears on a map of Lanarkshire made by Timothy Pont some time between 1583 and 1611 and printed in the Netherlands in around 1652.
From 1918 the constituency consisted of "The burghs of Motherwell and Wishaw, together with the part of the Middle Ward County District which is contained within the extraburghal portion of the parish of Dalziel."
View full lesson: http://ed.ted.com/lessons/could-just-anyone-make-a-jackson-pollock-painting-sarah-rosenthal
If you visit a museum with a collection of modern and contemporary art, you’re likely to see works that sometimes elicit the response, “My cat could make that, so how is it art?” But is it true? Could anyone create one of Jackson Pollock’s drip paintings? Sarah Rosenthal dives into the Abstract Expressionist movement in hopes of answering that question.
Lesson by Sarah Rosenthal, animation by Tomás Pichardo-Espaillat.
published: 28 Apr 2016
Abstract Expressionism
Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson and Molesworth discuss the heterogeneity of the Abstract Expressionists and the two men, Clement Greenberg and Harold Rosenberg, who drew them together through their aggressive historicization of this moment in painting.
Director: Andrew van Baal
Music: DJ Shadow
Special Thanks: Helen Molesworth, Mary Weatherford, Suzanne Hudson
published: 24 Sep 2015
ABSTRACT EXPRESSIONISM: Who were the Irascible 18?
The Irascible 18 wrote an open letter to the Metropolitan Museum of Art in 1950 to denounce its conservatism. Adolph Gottlieb wrote it and was supported by Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt and Hedda Sterne among others. These 15 artists weren't the only ones who signed the open letter, but they were the subjects of an iconic photograph made by Nina Leen. We're going to look at each of them and, also, illustrate how little in common these artists have by explaining the difference between Action Painting and Color Field Painting.
James. E. B. Breslin's book:
https://www.press.uchicago.edu...
Art 101: Why you can’t be an Abstract Expressionist
Professor Lise tells us all about art movements and why your uncle can’t be an abstract expressionist even if he wanted to.
»Subscribe to CBC Arts to watch more videos: http://bit.ly/CBCArtsSubscribe
So how did Cubism get its name? Like a lot of art movements, that story begins with a crappy, resentful person. Not Picasso, but a critic. In the case of Cubism, it was a guy named Louis Vauxcelles. He went to see work by Braque and Picasso and was less than impressed at how different from all the other art it looked. So when he wrote about their paintings, he talked about the work as "cubic weirdness," describing it as "bizarreries cubique."
Find us at: http://cbc.ca/arts
CBC Arts on Facebook: http://facebook.com/cbcarts
CBC Arts on Twitter: http://twitter.com/cbcarts
CBC Arts on Instagram...
published: 27 Mar 2019
Expressing The Chaos: The Abstract Expressionism Of Miriam Beerman | Perspective
#art #painting #history
Subscribe and click the bell icon to get more arts content every week:
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Miriam Beerman is a survivor. In her more than 60 years as a groundbreaking artist, she has overcome personal tragedy to inspire friends, family, peers, patrons, and students about how to remain defiant, creative and strong.
Miriam has struggled with her artistic demons to create haunting images that evoke the suffering of generations of victims. At 90 years old, Miriam now lives in a residence home near her family in Washington, D.C. Her memory is not what it once was, yet she is still generating compelling and forceful art. It’s one of the only things she is sure of.
The film is a memorable profile of an artist who has elevated her empathy for the plight of th...
published: 16 Sep 2020
The Case for Abstraction | The Art Assignment | PBS Digital Studios
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
published: 28 Jul 2016
What is Abstract Expressionism?
In this video from the Clyfford Still Museum (CSM) ground-floor storyviewers, CSM Director Dean Sobel, Senior Consulting Curator David Anfam, art historian Robert Storr, and author Robert Genter discuss the development of this iconic American artistic movement following World War II. While Storr and Genter provide historical context for the movement, Sobel identifies “all over” composition and monumental scale as two of its defining characteristics.
published: 04 Sep 2014
Steve Martin on how to look at abstract art | MoMA BBC | THE WAY I SEE IT
In this episode of "The Way I See It," actor and comedian Steve Martin looks at paintings by two early pioneers of American abstraction and takes us on a journey of seeing—shape and color transform into mountains, sky, and water.
Find "The Way I See It" on BBC Sounds or wherever you get your podcasts.
https://www.bbc.co.uk/programmes/m0009bf6
Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe
Explore our collection online: http://mo.ma/art
Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join
The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#TheWayISeeIt #SteveMartin #StantonMacdonaldWright...
published: 09 Dec 2019
Introducing Abstract Expressionism
A brief introduction to Abstract Expressionism
Twitter: https://twitter.com/ARTHIST_101
View full lesson: http://ed.ted.com/lessons/could-just-anyone-make-a-jackson-pollock-painting-sarah-rosenthal
If you visit a museum with a collection of modern...
View full lesson: http://ed.ted.com/lessons/could-just-anyone-make-a-jackson-pollock-painting-sarah-rosenthal
If you visit a museum with a collection of modern and contemporary art, you’re likely to see works that sometimes elicit the response, “My cat could make that, so how is it art?” But is it true? Could anyone create one of Jackson Pollock’s drip paintings? Sarah Rosenthal dives into the Abstract Expressionist movement in hopes of answering that question.
Lesson by Sarah Rosenthal, animation by Tomás Pichardo-Espaillat.
View full lesson: http://ed.ted.com/lessons/could-just-anyone-make-a-jackson-pollock-painting-sarah-rosenthal
If you visit a museum with a collection of modern and contemporary art, you’re likely to see works that sometimes elicit the response, “My cat could make that, so how is it art?” But is it true? Could anyone create one of Jackson Pollock’s drip paintings? Sarah Rosenthal dives into the Abstract Expressionist movement in hopes of answering that question.
Lesson by Sarah Rosenthal, animation by Tomás Pichardo-Espaillat.
Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson ...
Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson and Molesworth discuss the heterogeneity of the Abstract Expressionists and the two men, Clement Greenberg and Harold Rosenberg, who drew them together through their aggressive historicization of this moment in painting.
Director: Andrew van Baal
Music: DJ Shadow
Special Thanks: Helen Molesworth, Mary Weatherford, Suzanne Hudson
Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson and Molesworth discuss the heterogeneity of the Abstract Expressionists and the two men, Clement Greenberg and Harold Rosenberg, who drew them together through their aggressive historicization of this moment in painting.
Director: Andrew van Baal
Music: DJ Shadow
Special Thanks: Helen Molesworth, Mary Weatherford, Suzanne Hudson
The Irascible 18 wrote an open letter to the Metropolitan Museum of Art in 1950 to denounce its conservatism. Adolph Gottlieb wrote it and was supported by Theo...
The Irascible 18 wrote an open letter to the Metropolitan Museum of Art in 1950 to denounce its conservatism. Adolph Gottlieb wrote it and was supported by Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt and Hedda Sterne among others. These 15 artists weren't the only ones who signed the open letter, but they were the subjects of an iconic photograph made by Nina Leen. We're going to look at each of them and, also, illustrate how little in common these artists have by explaining the difference between Action Painting and Color Field Painting.
James. E. B. Breslin's book:
https://www.press.uchicago.edu/ucp/books/book/chicago/M/bo3613389.html
Videos on paintings mentioned or seen:
Ben Shahn's The Passion of Sacco and Vanzetti:
https://www.youtube.com/watch?v=qc-gvsyV2GI
Marcel Duchamp's Nude Descending a Staircase:
https://www.youtube.com/watch?v=uZnUTrfxbj0
Piet Mondrian's Broadway Boogie-Woogie:
https://www.youtube.com/watch?v=ZRH4a5vzvEM
Salvador Dali's Persistence of Memory:
https://www.youtube.com/watch?v=YqlTRZi-e10
Support us on Patreon: https://www.patreon.com/TheCanvas
#arthistory #art #abstractimpressionism
The Irascible 18 wrote an open letter to the Metropolitan Museum of Art in 1950 to denounce its conservatism. Adolph Gottlieb wrote it and was supported by Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt and Hedda Sterne among others. These 15 artists weren't the only ones who signed the open letter, but they were the subjects of an iconic photograph made by Nina Leen. We're going to look at each of them and, also, illustrate how little in common these artists have by explaining the difference between Action Painting and Color Field Painting.
James. E. B. Breslin's book:
https://www.press.uchicago.edu/ucp/books/book/chicago/M/bo3613389.html
Videos on paintings mentioned or seen:
Ben Shahn's The Passion of Sacco and Vanzetti:
https://www.youtube.com/watch?v=qc-gvsyV2GI
Marcel Duchamp's Nude Descending a Staircase:
https://www.youtube.com/watch?v=uZnUTrfxbj0
Piet Mondrian's Broadway Boogie-Woogie:
https://www.youtube.com/watch?v=ZRH4a5vzvEM
Salvador Dali's Persistence of Memory:
https://www.youtube.com/watch?v=YqlTRZi-e10
Support us on Patreon: https://www.patreon.com/TheCanvas
#arthistory #art #abstractimpressionism
From the Curator: MoMA and Abstract Expressionism
Abstract Expressionist New York
The Museum of Modern Art, October 3, 2010--April 11, 2011
MoMA.org/abexny...
Professor Lise tells us all about art movements and why your uncle can’t be an abstract expressionist even if he wanted to.
»Subscribe to CBC Arts to watch mor...
Professor Lise tells us all about art movements and why your uncle can’t be an abstract expressionist even if he wanted to.
»Subscribe to CBC Arts to watch more videos: http://bit.ly/CBCArtsSubscribe
So how did Cubism get its name? Like a lot of art movements, that story begins with a crappy, resentful person. Not Picasso, but a critic. In the case of Cubism, it was a guy named Louis Vauxcelles. He went to see work by Braque and Picasso and was less than impressed at how different from all the other art it looked. So when he wrote about their paintings, he talked about the work as "cubic weirdness," describing it as "bizarreries cubique."
Find us at: http://cbc.ca/arts
CBC Arts on Facebook: http://facebook.com/cbcarts
CBC Arts on Twitter: http://twitter.com/cbcarts
CBC Arts on Instagram: http://instagram.com/cbcarts
About: Welcome to CBC Arts, your home for the most surprising, relevant and provocative stories featuring artists from diverse communities across Canada. Our job is to fill your feed with the disruptors and innovators changing how we see the country through movement, images and sound — and to inspire you to join in too.
Professor Lise tells us all about art movements and why your uncle can’t be an abstract expressionist even if he wanted to.
»Subscribe to CBC Arts to watch more videos: http://bit.ly/CBCArtsSubscribe
So how did Cubism get its name? Like a lot of art movements, that story begins with a crappy, resentful person. Not Picasso, but a critic. In the case of Cubism, it was a guy named Louis Vauxcelles. He went to see work by Braque and Picasso and was less than impressed at how different from all the other art it looked. So when he wrote about their paintings, he talked about the work as "cubic weirdness," describing it as "bizarreries cubique."
Find us at: http://cbc.ca/arts
CBC Arts on Facebook: http://facebook.com/cbcarts
CBC Arts on Twitter: http://twitter.com/cbcarts
CBC Arts on Instagram: http://instagram.com/cbcarts
About: Welcome to CBC Arts, your home for the most surprising, relevant and provocative stories featuring artists from diverse communities across Canada. Our job is to fill your feed with the disruptors and innovators changing how we see the country through movement, images and sound — and to inspire you to join in too.
#art #painting #history
Subscribe and click the bell icon to get more arts content every week:
youtube.com/c/PerspectiveArts
Miriam Beerman is a survivor. In h...
#art #painting #history
Subscribe and click the bell icon to get more arts content every week:
youtube.com/c/PerspectiveArts
Miriam Beerman is a survivor. In her more than 60 years as a groundbreaking artist, she has overcome personal tragedy to inspire friends, family, peers, patrons, and students about how to remain defiant, creative and strong.
Miriam has struggled with her artistic demons to create haunting images that evoke the suffering of generations of victims. At 90 years old, Miriam now lives in a residence home near her family in Washington, D.C. Her memory is not what it once was, yet she is still generating compelling and forceful art. It’s one of the only things she is sure of.
The film is a memorable profile of an artist who has elevated her empathy for the plight of the world’s castoffs into powerful portrayals of dignity.
Perspective is YouTube's home for the arts. Come here to get your fill of great music, theatre, art and much, much more!
From Miriam Beerman
Content licensed from Espresso Media to Little Dot Studios.
Any queries, please contact us at:
[email protected]
#art #painting #history
Subscribe and click the bell icon to get more arts content every week:
youtube.com/c/PerspectiveArts
Miriam Beerman is a survivor. In her more than 60 years as a groundbreaking artist, she has overcome personal tragedy to inspire friends, family, peers, patrons, and students about how to remain defiant, creative and strong.
Miriam has struggled with her artistic demons to create haunting images that evoke the suffering of generations of victims. At 90 years old, Miriam now lives in a residence home near her family in Washington, D.C. Her memory is not what it once was, yet she is still generating compelling and forceful art. It’s one of the only things she is sure of.
The film is a memorable profile of an artist who has elevated her empathy for the plight of the world’s castoffs into powerful portrayals of dignity.
Perspective is YouTube's home for the arts. Come here to get your fill of great music, theatre, art and much, much more!
From Miriam Beerman
Content licensed from Espresso Media to Little Dot Studios.
Any queries, please contact us at:
[email protected]
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
For much of human history, people made art by trying to repr...
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
In this video from the Clyfford Still Museum (CSM) ground-floor storyviewers, CSM Director Dean Sobel, Senior Consulting Curator David Anfam, art historian Robe...
In this video from the Clyfford Still Museum (CSM) ground-floor storyviewers, CSM Director Dean Sobel, Senior Consulting Curator David Anfam, art historian Robert Storr, and author Robert Genter discuss the development of this iconic American artistic movement following World War II. While Storr and Genter provide historical context for the movement, Sobel identifies “all over” composition and monumental scale as two of its defining characteristics.
In this video from the Clyfford Still Museum (CSM) ground-floor storyviewers, CSM Director Dean Sobel, Senior Consulting Curator David Anfam, art historian Robert Storr, and author Robert Genter discuss the development of this iconic American artistic movement following World War II. While Storr and Genter provide historical context for the movement, Sobel identifies “all over” composition and monumental scale as two of its defining characteristics.
In this episode of "The Way I See It," actor and comedian Steve Martin looks at paintings by two early pioneers of American abstraction and takes us on a journe...
In this episode of "The Way I See It," actor and comedian Steve Martin looks at paintings by two early pioneers of American abstraction and takes us on a journey of seeing—shape and color transform into mountains, sky, and water.
Find "The Way I See It" on BBC Sounds or wherever you get your podcasts.
https://www.bbc.co.uk/programmes/m0009bf6
Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe
Explore our collection online: http://mo.ma/art
Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join
The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#TheWayISeeIt #SteveMartin #StantonMacdonaldWright #MorganRussell #art #museumofmodernart #moma #museum #modernart
In this episode of "The Way I See It," actor and comedian Steve Martin looks at paintings by two early pioneers of American abstraction and takes us on a journey of seeing—shape and color transform into mountains, sky, and water.
Find "The Way I See It" on BBC Sounds or wherever you get your podcasts.
https://www.bbc.co.uk/programmes/m0009bf6
Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe
Explore our collection online: http://mo.ma/art
Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join
The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#TheWayISeeIt #SteveMartin #StantonMacdonaldWright #MorganRussell #art #museumofmodernart #moma #museum #modernart
View full lesson: http://ed.ted.com/lessons/could-just-anyone-make-a-jackson-pollock-painting-sarah-rosenthal
If you visit a museum with a collection of modern and contemporary art, you’re likely to see works that sometimes elicit the response, “My cat could make that, so how is it art?” But is it true? Could anyone create one of Jackson Pollock’s drip paintings? Sarah Rosenthal dives into the Abstract Expressionist movement in hopes of answering that question.
Lesson by Sarah Rosenthal, animation by Tomás Pichardo-Espaillat.
Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson and Molesworth discuss the heterogeneity of the Abstract Expressionists and the two men, Clement Greenberg and Harold Rosenberg, who drew them together through their aggressive historicization of this moment in painting.
Director: Andrew van Baal
Music: DJ Shadow
Special Thanks: Helen Molesworth, Mary Weatherford, Suzanne Hudson
The Irascible 18 wrote an open letter to the Metropolitan Museum of Art in 1950 to denounce its conservatism. Adolph Gottlieb wrote it and was supported by Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt and Hedda Sterne among others. These 15 artists weren't the only ones who signed the open letter, but they were the subjects of an iconic photograph made by Nina Leen. We're going to look at each of them and, also, illustrate how little in common these artists have by explaining the difference between Action Painting and Color Field Painting.
James. E. B. Breslin's book:
https://www.press.uchicago.edu/ucp/books/book/chicago/M/bo3613389.html
Videos on paintings mentioned or seen:
Ben Shahn's The Passion of Sacco and Vanzetti:
https://www.youtube.com/watch?v=qc-gvsyV2GI
Marcel Duchamp's Nude Descending a Staircase:
https://www.youtube.com/watch?v=uZnUTrfxbj0
Piet Mondrian's Broadway Boogie-Woogie:
https://www.youtube.com/watch?v=ZRH4a5vzvEM
Salvador Dali's Persistence of Memory:
https://www.youtube.com/watch?v=YqlTRZi-e10
Support us on Patreon: https://www.patreon.com/TheCanvas
#arthistory #art #abstractimpressionism
Professor Lise tells us all about art movements and why your uncle can’t be an abstract expressionist even if he wanted to.
»Subscribe to CBC Arts to watch more videos: http://bit.ly/CBCArtsSubscribe
So how did Cubism get its name? Like a lot of art movements, that story begins with a crappy, resentful person. Not Picasso, but a critic. In the case of Cubism, it was a guy named Louis Vauxcelles. He went to see work by Braque and Picasso and was less than impressed at how different from all the other art it looked. So when he wrote about their paintings, he talked about the work as "cubic weirdness," describing it as "bizarreries cubique."
Find us at: http://cbc.ca/arts
CBC Arts on Facebook: http://facebook.com/cbcarts
CBC Arts on Twitter: http://twitter.com/cbcarts
CBC Arts on Instagram: http://instagram.com/cbcarts
About: Welcome to CBC Arts, your home for the most surprising, relevant and provocative stories featuring artists from diverse communities across Canada. Our job is to fill your feed with the disruptors and innovators changing how we see the country through movement, images and sound — and to inspire you to join in too.
#art #painting #history
Subscribe and click the bell icon to get more arts content every week:
youtube.com/c/PerspectiveArts
Miriam Beerman is a survivor. In her more than 60 years as a groundbreaking artist, she has overcome personal tragedy to inspire friends, family, peers, patrons, and students about how to remain defiant, creative and strong.
Miriam has struggled with her artistic demons to create haunting images that evoke the suffering of generations of victims. At 90 years old, Miriam now lives in a residence home near her family in Washington, D.C. Her memory is not what it once was, yet she is still generating compelling and forceful art. It’s one of the only things she is sure of.
The film is a memorable profile of an artist who has elevated her empathy for the plight of the world’s castoffs into powerful portrayals of dignity.
Perspective is YouTube's home for the arts. Come here to get your fill of great music, theatre, art and much, much more!
From Miriam Beerman
Content licensed from Espresso Media to Little Dot Studios.
Any queries, please contact us at:
[email protected]
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Pre-order our book YOU ARE AN ARTIST (which includes new assignments!) here: http://bit.ly/2kplj2h
In this video from the Clyfford Still Museum (CSM) ground-floor storyviewers, CSM Director Dean Sobel, Senior Consulting Curator David Anfam, art historian Robert Storr, and author Robert Genter discuss the development of this iconic American artistic movement following World War II. While Storr and Genter provide historical context for the movement, Sobel identifies “all over” composition and monumental scale as two of its defining characteristics.
In this episode of "The Way I See It," actor and comedian Steve Martin looks at paintings by two early pioneers of American abstraction and takes us on a journey of seeing—shape and color transform into mountains, sky, and water.
Find "The Way I See It" on BBC Sounds or wherever you get your podcasts.
https://www.bbc.co.uk/programmes/m0009bf6
Subscribe for our latest videos, and invitations to live events: http://mo.ma/subscribe
Explore our collection online: http://mo.ma/art
Commit to art and ideas. Support MoMA by becoming a member today: https://moma.org/join
The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#TheWayISeeIt #SteveMartin #StantonMacdonaldWright #MorganRussell #art #museumofmodernart #moma #museum #modernart
Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell the 2nd and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artist's asthmatic condition, Motherwell was reared largely on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that later emerged as essential characteristics of his abstract paintings (ultramarine blue of the sky and ochre yellow of Californian hills). His later concern with themes of mortality can likewise be traced to his frail health as a child.