gri_2003_m_46_b06_f12_009
- Max. dissimilarity: 0.124
- Mean dissimilarity: 0.076
- Image votes: 0.0
Transcribers
- 72005348 - Preacher357
- 72108574 - jesseytucker
- 72471463 - hoskinml
- 73007789 - Zooniverse2017
- WINNER - 73021703 - mdlincoln
- 73093394 - Molly_Carr
72005348 - Preacher357
PAINTING 2tures of exisential individulism, lose as a reflective work
than as an anguished act with paint and canvas. Jackson Pol-
lock influenced some of these artists. In Paris this attitude
to creation was expressed by Jean-Paul Riopolle, Georges Mathieu,
Henri Michaux, and others. In England, the most conspicuous
exponents of this anti-formal art were Alan Davie and Gerald Wilde.
The 'aformal' artists considered most modern art manneristic.
Modern German painting supported their view: though there was a
great deal of German painting to be seen in 1953, most of it was
either oriented to the recent past or rather superficially deriv-
ative from other countries. Influences of the pre-war Bauhaus
and post-war Paris conflict: though the Germans were free to
experiment, no recognisable national style, comperable to that of the
pre-Nazi years, emerged. Even Karl Hofer's recent work
lacked the admirable purposefulness and strength of his earlier
painting.
There were many other aesthetic attitudes in Europe in 1953,
besides the individualism of the 'aformalists' and the selecticism
of the Germans. Typical of post-war aesthetics (in some quarters)
is the narrowing-down of modern art. For example, the Eccle d'Aix -
a group of artists led by Pierre Tal Coat, gathered like pilgrims
round the cave-mouth at Bibemus. Faces with their misty abstractred
scenes the question arose: was this a consolidation of a position
won years ago, or was Cezanne's real achievement being dissipated
by a decadent excess of refinement? Late Euston Road realists in
England suggested similar doubts.
72108574 - jesseytucker
PAINTING 2tures of existential individualism, less as a reflective work
than as an anguised set with paint and canvas. Jackson Pol-
lock influenced some of these artists. In Paris this attitude
to creation was expressed by Jean-Paul Riopelle, Georges Nathieu,
Henri Michaux, and others. In England, the most conspicuous
exponents of this anti-fermal art were Alan Davie and Gerald Wilde.
The 'aformal' artists considered most modern art manneristic.
Modern German painting supported their view: though there was a
great deal of German painting to be seen in 1953, most of it was
either oriented to the recent past or rather superfically deriv-
ative from other countries. Influences of the pre-war Bauhaus
and post-war Paris conflict: though the Germans were free to
experiment, no recognisable national style, comparable to that of the
pre-Nazi years, emerged. Even Karl Hofer's recent work
lacked the admirable purposefuless and strength of his earlier
painting.
There were many others aesthetic attitudes in Europe in 1953,
besides the individualism of the 'aformalists' and the eclecticism
of the Germans. Typical of post-war aesthetics (in some quarters)
is the narrowing-down of modern art. Fo example, the Ecole d'Aix--
a group of artists led by Pierre Tal Coat, gathered like pilgrims
round the cave-mouth at Bibmus. Faced with their mist abstracted
scenes the question arose: was this a consolidation of a position
won years ago, or was Cezanne's real achievement being dissipated
by a decadent excess of reminement? Late Euston Road realists in
England suggested similar doubts.
72471463 - hoskinml
PAINTING 2tures of existential individualism, less as a reflective work than as an anguished act with paint and canvas. Jackson Pol-lock influenced some of these artists. In Paris this attitude to creation was expressed by Jean-Paul Riopelle, Georges Mathieu, Henri Michaux, and others. In England, the most conspicuous exponents of this anti-formal art were Alan Davie and Gerald Wilde.
The 'aformal' artists considered most modern art manneristic. Modern German painting supported their view: though there was a great deal of German painting to be seen in 1953, most of it was either oriented to the recent past or rather superficially deriv-ative from other countries. Influences of the pre-war Bauhaus and post-war Paris conflict: though the Germans were free to experiment, no recognisable national style, comperable to that of the pre-Naxi years, emerged. Even Karl Hofer's recent work lacked the admirable purposefulness and strength of his earlier painting.
There were many other aesthetic attitudes in Europe in 1953, besides the individualism of the 'aformalists' and the eclecticism of the Germans. Typical of post-war aesthetics (in some quarters) is the narrowing-down of modern art. For example, the Ecole d'Aix - a group of artists led by Pierre Tal Coat, gathered like pilgrims round the cave-mough at Bibemus. Faced with their misty abstracted scenes the question arose: was this a consolidation of a position won years ago, or was Cezanne's real achievement being dissipated by a decadent excess of refinement? Late Euston Road realists in England suggested similar doubts.
73007789 - Zooniverse2017
PAINTING 2tures of existential individualism, less as a reflective work
than as an anguished act with paint and canvas. Jackson Pol-
lock influenced some of these artists. In Paris this attitude
to creation was expressed by Jean-Paul Riopelle, Georges Mathieu,
Henri Michaux, and others. In England, the most conspicious
exponents of this anti-formal art were Alan Davis and Gerald Wilde.
The 'artificial' artists considered most modern art manneristic.
Modern German painting supported their view: though there was a
great deal of German painting to be seen 1953, most of it was
either oriented to the recent past or rather superficially deriv-
ative from other countries. Influence of the pre-war Bauhaus
and post-war Paris conflict: though the Germans were free to
experiment, no recognisable national style, comparable to that of the
pre-Nazi years, emerged. Even Karl Hofer's recent work
lacked the admirable purposefulness and strength of his earlier
painting.
There were many other aesthetic attitudes in Europe in 1953.
besides the individualism of the 'aformalists' and the eclecticism
of the Germans. Typical post-war aesthetics (in some quarters)
is the narrowing-down of modern art. For example, the Eccle d'Aix
a group of artists led by Pierre Tal Coat, gathered like pilgrims
round the cave-mouth at Bibemus. Faced with their misty abstracted
scenes the question arose: was this a consolidation of a position
won years ago, or was Cezanne's real achievement being dissipated
by a decadent excess of refinement? Late Euston Road realists in
England suggested similar doubts.
WINNER - 73021703 - mdlincoln
Painting 2tures of existential individualism, less as a reflective work than as an anguished act with paint and canvas. Jackson Pollock
influenced some of these artists. In Paris this attitude
to creation was expressed by Jean-Paul Riopelle, Georges Mathieu,
Henri Michaux, and others. In England, the most conspicuous
exponents of this anti-formal art were Alan Davie and Gerald Wilde.
The 'aformal' artists considered most modern art manneristic.
Modern German painting supported their view: though there was a great deal of German painting to be seen in 1953, most of it was either oriented to the recent past or rather superficially derivative from other countries. Influences of the pre-war Bauhaus and post-war Paris conflict: though the Germans were free to experiment, no recogznisable national style, comparable to that of the pre-Nazi years, emerged. Even Karl Hofer's recent work lacked the admirable purposefulness and strength of his earlier painting.
There were many other aesthetic attitudes in Europe in 1953, besides the individualism of the 'aformalists' and the eclecticism of the Germans. Typical of post-war aesthetics (in some quarters) is the narrowing-down of modern art. For example, the Ecole d'Aix - a group of artists let by Pierre Tal Coat, gathered like pilgrims round the cave-mouth at Bibemus. Faced with their misty abstracted scenes the question arose: was this a consolidation of a position won years ago, or was Cenzanne's real achievement being dissipated by a decadent excess of refinement? Late Euston Road realists in England suggested similar doubts.
73093394 - Molly_Carr
PAINTING "tures of existential individualism, less as a reflective work than as an anguished ect with paint and canvas. Jackson Pollock influented some of these artists. In Paris this attitude to creation was expressed by Jean-Paul Riopelle, Georges Maathieu, Henri Michaux, and others. In England, the most conspicuous exponents of this anti-formal art were Alan Davie and Gerald Wilde.
The 'aformal' artists considered most modern art manneristic. Modern German painting supported their view: though there was a great deal of German painting to be seen in 1953, most of it was either oriented to the recent past or rather superficially derivative from other countries. Influences of the pre-war Bauhaus and post-war Paris conflict: though the Germans were free to experiment, no recognisable national style, comperable to that of the pre-Nazi years, emerged. Even Karl Hofer's recent work lacked the admirable purposefulness and strength of his earlier painting.
There were many other aesthetic attitudes in Europe in 1953, besides the individualism of the 'aformalists' and the eclecticism of the Germans. Typical of post-war aesthetics (in some quarters) is the narrowing-down of modern art. For example, the Ecole d'Aix - a group of artists led by Pierre Tal Coat, gathered like pilgrims round the cave-mouth at Bibemus. Faced with their misty abstracted scenes the question arose: was this a consolidation of a position won years ago, or was Cezanne's real acheivement being dissipated by a decadent excess of refinement? Late Euston Road realists in England suggested similar doubts.