Anthony Frost

Tache claire (peinture abstraite)

2006

Le vieux monde (peinture abstraite) Acrylique sur toile - Non encadré. La technique utilisée par Matthew Langley pour créer ses œuvres d'art consiste à construire et à étendre, ain...

Enchantement Urduu (peinture abstraite) Acrylique sur toile - Non encadré Philippe Halaburda est un artiste français qui a inventé le terme "abstraction géographique" pour décrire ...

Record of Undefined Color 32 (peinture abstraite) Acrylique sur toile - Non encadré. "Cette série, commencée en 2016 véhicule un langage coloré et émotionnel et s'inspire de la sér...

Untitled Blue (peinture abstraite) Acrylique sur toile - Non encadré. Baribeau construit ses tableaux couche par couche, en accumulant la couleur, la forme et la texture dans des c...

yonder gold [2022] original Acrylique avec détails à la feuille d'or Taille de l'image : H:100 cm x L:100 cm Taille complète de l'œuvre non encadrée : H:100 cm x L:100 cm x P:3.5cm ...

Diptyque Jubilation and Deeper Still de Michelle Marra [2020] original Peinture acrylique sur toile Taille de l'image : H:51 cm x L:51 cm Taille complète de l'œuvre non encadrée : H...

An abstract painting by Duayne Hatchett from his Trowel Painting Series. Oil on canvas, circa 1990. Signé. Encadré. Duayne Hatchett was a visual artist whose work included prints, paintings, sculpture, and found objects. He was born on May 12, 1925 in Shawnee, Oklahoma. He enlisted in the Air Force where he trained to become a fighter pilot. After leaving the militrary he studied design at the University of Oklahoma. His highly technical military training combined a mathematical intelligence with a love for physics and a daring embrace of new experience, all of which would soon be the tools for his evolution through art. Two major influences interacted on his early development at OU. Emelio Omero, a colleague and close friend of Diego Rivera, introduced him to the revolutionary art ideas of Mexico City, while teaching him a wide range of printing techniques that would culminate in a Masters Degree in Painting in 1952. During this time he met Bruce Goff, a renowned Wright disciple, who was teaching architecture at OU and befriended Hatchett, introducing him to the most avant-garde architecture of that time. He spent his summers while at OU designing for a small sign shop, which introduced him to new materials used for building neon, plastic, and metal signs. The use of new materials and a keen sense for design would soon become invaluable building blocks for future sculpture. During this time he met and married Mary Ellen Jeffries. They would spend their lives together and raise three children, David (me), my brother Dana, and my sister Jeffri. As children, they were immersed in art from childhood and benefited greatly from this loving art and domestic environment. Hatchett was always interested in the techniques of construction, often watching different tradesmen working, understanding how materials are put together to create the manmade environment that surrounded him. While teaching printmaking at Oklahoma City University from 1951 through ‘54, he began to build sculpture employing some of the materials and techniques that he saw workers using. He was beginning to draw the attention of architects and he became interested in their work-trade processes, moving from blue prints to construction. He accepted an invitation from Alexander Hogue to teach sculpture at Tulsa University in 1954. He moved his family to Tulsa where he would teach for the next ten years. While in Tulsa, he became well known as a teacher and a sculptor, often lecturing at various sculpture conferences around the country. He also began to obtain commissions for sculpture as his interaction with architecture continued to evolve. He began to meet and interact with some of the most influential New York artists, including David Smith, Louise Nevelson, Noguchi, and Chicago artist, Richard Hunt. The 'found object' became important subject matter for many artists including Hatchett and his frequent trips to junkyards yielded the materials for welded sculptures that explored abstract forms...

Dans cette œuvre, Michelle Weddle utilise la ligne, la couleur et la forme pour créer une peinture qui se situe à l'équilibre entre le non-objectif et le figuratif. En utilisant des ...