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Color completeness: 1960s painting
Exhibition December 18, 2019 − March 14, 2021
Solomon Guggenheim Museum presents exhibition"Fullness of Color: Painting of the 1960s".
Visitors will be able to see canvases of "unpopularized" areas of fine art, incl. abstract expressionism, the second half of the XX century.
In the 1960s, a group of avant-garde artists began to push abstraction in new directions, leading to the emergence of several different styles. Helen Frankenthaler applied thinned acrylics to unprimed cotton canvas, while Louis Morris, Kenneth Noland and Jules Olitsky methodically poured, soaked and sprayed paint onto the canvases, thereby eliminating the gestures that were central to Abstract Expressionism in the 1940s and 1950s. ... In these new works, the figure and the background became a single whole, united by color. While Alma Thomas skillfully applied the theory of color using expressive signs, other authors approached the relationship of form and color through studies of optical perception, or created precise geometric compositions, which, as described in 1966 by Guggenheim curator Lawrence Alloway, “combined economy shapes and neatness, combining the surface with the fullness of color. "
Based on site materialsSolomon Guggenheim Museum.
Visitors will be able to see canvases of "unpopularized" areas of fine art, incl. abstract expressionism, the second half of the XX century.
In the 1960s, a group of avant-garde artists began to push abstraction in new directions, leading to the emergence of several different styles. Helen Frankenthaler applied thinned acrylics to unprimed cotton canvas, while Louis Morris, Kenneth Noland and Jules Olitsky methodically poured, soaked and sprayed paint onto the canvases, thereby eliminating the gestures that were central to Abstract Expressionism in the 1940s and 1950s. ... In these new works, the figure and the background became a single whole, united by color. While Alma Thomas skillfully applied the theory of color using expressive signs, other authors approached the relationship of form and color through studies of optical perception, or created precise geometric compositions, which, as described in 1966 by Guggenheim curator Lawrence Alloway, “combined economy shapes and neatness, combining the surface with the fullness of color. "
Based on site materialsSolomon Guggenheim Museum.
