Artistic Evolution
Rapoport's work in the late 1940s explored the human figure in abstracted form. In the 1950s her painting practice shifted, displaying Abstract expressionist influences while abandoning figuration. While developing her ABEX style, she experimented in watercolors. These joint practices culminated in two solo exhibitions; one at the East West Gallery in San Francisco in 1958, and the other at the California Palace of the Legion of Honor in 1963. In the mid-1960s, inspired by reading her husband's scientific journals, she began to assemble different canvases into unified works. In these artworks, she incorporated scientific illustrations, graphic forms, and three-dimensional abstract expressionist constructions. These canvases were juxtaposed according to Rapoport's personal aesthetic. About these works, Dean Wallace wrote, "Sonya Rapoport now tacking together canvases of different expressionist tendencies into a single unit; a work like "Psyche Trio" gives a strange almost schizophrenic feeling. Odd that no one has thought of using this device before.
In the late 1960s, Rapoport helped to found the New York "Pattern painting" movement which she defined as, "buying kinky fabrics and painting out shapes."
Read more about this topic: Sonya Rapoport
Famous quotes containing the words artistic and/or evolution:
“Surely knowledge of the natural world, knowledge of the human condition, knowledge of the nature and dynamics of society, knowledge of the past so that one may use it in experiencing the present and aspiring to the future—all of these, it would seem reasonable to suppose, are essential to an educated man. To these must be added another—knowledge of the products of our artistic heritage that mark the history of our esthetic wonder and delight.”
—Jerome S. Bruner (20th century)
“By contrast with history, evolution is an unconscious process. Another, and perhaps a better way of putting it would be to say that evolution is a natural process, history a human one.... Insofar as we treat man as a part of nature—for instance in a biological survey of evolution—we are precisely not treating him as a historical being. As a historically developing being, he is set over against nature, both as a knower and as a doer.”
—Owen Barfield (b. 1898)