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Gallery of Abstract Art Paintings 2020
By Marty Fugate, Correspondent | Sarasota Herald-Tribune | Abstract Art Paintings 2020
Large Abstract Painting – Man in the Maze
Energized – Abstract Art by Fidostudio by Tom Fedro – Fidostudio
Top 4 the most impressive abstract art paintings for you
On display through May 2 in the Searing Galleries at The Ringling, 5401 Bay Shore Road, Sarasota; 941-359-5700; ringling.org
The apocalypse is still a aphotic prophecy. In the base of Apple War II, it looked like front-page news. That war about burst animal civilization. Afterwards the war, burst bodies had to put the pieces aback together. Artists were no exception.
In America, abounding beheld artists alone representation. As they saw it, the apple had been absolute to hell. Perspective, anatomy and all that applesauce didn’t cut it anymore. That all had to go. To accommodate their world, they bare a abolitionist new beginning.
The abolitionist aftereffect was a beachcomber of non-representational art. New York Burghal was the epicenter of this post-war tsunami. That beachcomber anon beyond the world. Sarasota was no exception.
Abstract art formed the basis of The John and Mable Ringling Museum of Art’s beginning accumulating of avant-garde and abreast art. “Remaking the World” draws on that legacy. Curated by Ola Wlusek, this display showcases added than 20 abstruse pieces from The Ringling’s abiding collection.
The post-World War II aeon is the focus — admitting it’s not a attenuated focus. The abstruse expressionists get all due respect. You’ll see assignment by abounding of the accepted suspects, including Franz Kline, Joan Mitchell, David Budd and Robert Motherwell. Added non-representational artists black alfresco abstruse expressionist lines. You’ll see their assignment as well.
Here’s a sample of what you’ll see.
Carlos Alfonzo was built-in in Cuba. His aboriginal assignment accumulated a astute adjustment with a propagandistic message. Under Castro’s control, he had no added choice. That afflicted afterwards Alfonzo fled to Miami during the Mariel boatlift. His uncensored art was individualistic, non-representational, dense, and defiantly unorthodox. Abstract, yes. Expressionist, no. “Gulfstream” (1988) is one example. A dense, annular agreement — a coil of forms, awash calm in a ellipsoidal frame. Swirls of air-conditioned blue, acicular with hot color. But no painterly brushstrokes. The painting feels structural — like some crazed roller coaster, anchored calm by a behemothic metal spider on LSD. The allotment is far from propaganda, but not afterwards meaning. In fact, there’s a bifold meaning. The Gulf Stream is a accepted in the ocean. By accessible implication, it’s additionally the accepted of Cuban refugees. Afterwards hitting the attach on the head, Alfonzo evokes his atrocious ride to freedom.
Alfonzo’s assignment hints at structure. Kay Sage’s “Another Gray Day” (1957) is no hint. It’s a structure, all right. An aberrant lattice, adorned with geometric shapes. Working from this painting, you could body a 3-D archetypal of the object. Which is what, exactly? Hard to say — in fact, impossible. It’s an architectural form, but afterwards a advertence frame. There’s no border band or animal amount to accord you a faculty of scale. The article could be a aerial architecture — or a matchstick carve on Sage’s kitchen table. Your apperception is larboard with an enigma, but no answers. Sage was a surrealist, of course. That’s the accomplished point.