#Abstract expressionism

[theaskew]

Bijanka Bacic (Australian, b. 1997, lives and works in London), Crossing, 2024. Oil on canvas, 150 x 100 cm. | 59 x 39 3/8 in. (Source: König Galerie, Berlin)

[noak-esbjornsson-art]

Untitled (on cardboard)

2025

Noak Esbjörnsson

[jamesusilljournal]

Dusk Till Dawn, Josh E Wylie, 2023

[dailyrothko]

Mark Rothko, Untitled, 1964

signed, dated and dedicated ‘Rothko 1964 for Mary Lasker’ (on the reverse), oil on paper mounted on canvas 25½ x 19¼ in. (64.8 x 48.9 cm.)

© Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS)    

[the-cricket-chirps]

Untitled (Green Paintings)

Cy Twombly

ca. 1986

[jareckiworld]

Janet Sobel (1894-1968) — The Illusion of Strength [oil, canvas, 1945]

[germanpostwarmodern]

Cy Twombly, Nini’s Painting, 1971, emulsion paint, crayon, colored pencil and pencil on canvas, 250.3 x 300.4 cm, Munich, Museum Brandhorst. Photo from May 2024.

[sonicandvisualsurprises]

Norman Lewis (American, born July 23, 1909–died August 27, 1979) is a painter of Afro-Caribbean descent, known for his expressionistic paintings influenced by music as well as the aesthetic legacy of the Harlem Renaissance

Born in the Harlem neighborhood of New York City, he developed an interest in art from a young age, and was encouraged to pursue an artistic career by his art teacher, Augusta Savage (American, 1900–1962), who provided him with an open studio space at the Harlem Art Center.

During the 1930s, Lewis was employed by the Works Progress Administration, working with fellow WPA artists, such as Jackson Pollock (American, 1912–1956), who would later become the leaders of the New York School of Abstract Expressionism.

Source : https://www.artnet.com

Echoes (1950), ink on paper,

Norman Lewis

[suhaylah]

The Spinning Pines (2023) oil & acrylic on linen Instagram: @ suhaylah.h Shop: suhaylah.bigcartel.com Patreon: patreon.com/suhaylah_h

[wateringstone]

Joan Mitchell. Heel, Sit, Stay. 1977.

Oil on canvas.

110 1/4 x 126 1/2 inches (280 x 321.3 cm)

[dailyrothko]

Mark Rothko Black on Maroon, 1958 oil paint, acrylic paint, glue tempera and pigment on canvas 90 × 81 ½ in. (228.6 × 207 cm) One of the Seagram Murals

So here's a brand new scan of one of the Seagram Murals, for your pleasure and edification.

We have some of these and eventually I will attempts a full set, but a "Full set" is kind of a matter of opinion. The original set, was considered to be seven, which is the number at the The Kawamura Memorial DIC Museum of Art, but Rothko sent 9 to the Tate (arriving on the day of his death). However, Rothko painted about 30 paintings for the murals not to mention studies and sketches. Some of these have been referred to as "Studies" as they were not ,art of the group originally sent and some are more obviously studies while some look as finished as any of them.

So the "real murals" can be considered the 9 paintings or the 7 or even the 30 or...who knows. I hope to make full sense of this one day soon, but until then here's one I don't think we have, in a nice new scan.

These have moved around over the last years and, sadly, The Kawamura Memorial DIC Museum of Art is set to close tomorrow forever, unless someone has saved it. Murals are now at the Tate St. Ives, but previously have resided at the Tate modern when they are not on loan.

If you have trouble sorting out these paintings, it is kind of confusing, as you can see.

[sonicandvisualsurprises]

In 1947 Pollock first used the process of pouring or dripping paint onto a flat canvas in stages, often alternating weeks of painting with weeks of contemplating before he finished a canvas.

This process allowed him to record the force and scope of his physical gesture in trajectories of enamel or aluminum paint. At the time, he said these abstract trajectories “veiled the image,” or the traces of figuration, that had often been apparent in his earlier work.

Later research indicated that his “veiling” constituted a form of free association from which he began most of his major paintings.

The results, in effect, were huge areas covered with complex linear patterns that fused image and form; these works engulfed the spectator in their scale and intricacy.

Source : https://www.britannica.com

Jackson Pollock, January 28, 1912 – August 11, 1956.

1950 photo by Rudy Burckhardt.

[patrickelvinart]

Early mornings

black sharpie and water color

Westwood 1986

Let me try to explain myself.

When I was a young man I loved illustration.

Perhaps the two illustrators who had the greatest influence on me were Aubrey Beardsley and Jean Giraud aka Moebius. Both artist drew with a fine line and I tried to emulate that.

Here's an old drawing of mine.

pencil drawing

Venice CA 1978

So back then I saw myself as an illustrator.

Then sometime around 1980 I was introduced to Abstract Expressionism and I had an epiphany...

Could I approach Abstract Expressionism with an illustrator's line?

A new world opened up to me and I started having fun with my drawing.

And then, for about 35 years I never drew an identifiable object.

No joke.

Still Life

black sharpie

Westwood 1985

Attitude Adjustment

pen, colored pencil and watercolor

Duarte CA 1996

Time never began

black sharpie on bond paper

San Francisco 2003

Dan's drawing

black sharpie

Rosemead 2011

i did a lot of these drawings. And I really enjoyed making them. For over thirty years I completely liberated myself from the rigors of drawing something that had to look like something. And I loved it. But then...

Sometime around 2015 I returned to illustration. Why? I'll be honest with you, I started to miss it.

Call it full circle but that's where I'm at now.

I still treasure my line though.

little boxes

black sharpie on paper

Los Angeles 2019

Thank you Aubrey and Jean.

Aubrey Beardsley

Jean Giraud aka Moebius

[burnt-cheese-toastie]

collapsing star AU

☕|🧀

twilight with the absorbed magic of celestia, luna and cadence has been "gifted" a rank just under god, above the animals, ponies, and angels. a demi-god

but this "gift" is a mere curse onto twilight, not being good enough, but high above the rest where even her friends feel like ants under her hoof. the truths of everything burns a horrid hole into her mind.

just a straw away from collapsing under the phycological, physical and social pressure.

[woundgallery]

Cy Twombly, Goethe in Italy, 1978