Pioneers of Modern Shaped-canvas Painting
Abraham Joel Tobias made "shaped canvases" in the 1930s. Uruguayan artist Rhod Rothfuss began to experience with "marco irregular" paintings in 1942, late in 1944 publish in Arturo magazine your seminal text "El marco: un problema de la plástica actual" Munich-born painter Rupprecht Geiger exhibited "shaped canvases" in 1948 in Paris, France. Paintings exhibited by the New Orleans born abstract painter Edward Clark shown at New York's Brata Gallery in 1957 have also been termed shaped canvas paintings.
Between the late 1950s through the mid 1960s Jasper Johns experimented with shaped and compartmentalized canvases, notably with his 'American Flag Painting' - one canvas placed on top of another, larger canvas. Robert Rauschenberg's experimental assemblages and "combines" of the 1950s also explored variations of divided and shaped canvas. Argentine artist Lucio Fontana also began early on the experiment in shaped and compartmentalized canvases with his Concetto Spaziale, Attese series in 1959. Assigning a date to the origin of the postwar shaped canvas painting may not be possible, but certainly it had emerged by the late 1950s.
Read more about this topic: Shaped Canvas
Famous quotes containing the words pioneers of, pioneers, modern and/or painting:
“We are the pioneers of the world; the advance-guard, sent on through the wilderness of untried things, to break a new path in the New World that is ours.”
—Herman Melville (1819–1891)
“The emancipation of today displays itself mainly in cigarettes and shorts. There is even a reaction from the ideal of an intellectual and emancipated womanhood, for which the pioneers toiled and suffered, to be seen in painted lips and nails, and the return of trailing skirts and other absurdities of dress which betoken the slave-woman’s intelligent companionship.”
—Sylvia Pankhurst (1882–1960)
“The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.”
—Willa Cather (1873–1947)
“For the bright side of the painting I had a limited sympathy. My visions were of shipwreck and famine; of death or captivity among barbarian hordes; of a lifetime dragged out in sorrow and tears, upon some gray and desolate rock, in an ocean unapproachable and unknown.”
—Edgar Allan Poe (1809–1849)