Vivian Springford - Color Field Painting

 

 Vivian Springford (1913 - 2003) was an American painter, affiliated with the Abstract Expressionism and Color Field movements of New York City in the 1950s to 1970s.
 In the late 1960s, Springford forged a new artistic direction that positioned her alongside Color Field artists such as Morris Louis and Kenneth Noland. Springford developed a stain technique of centrifugal acrylic washes, which eliminated lines and allowed her to extensively explore the spectrum of color. Such technique is comparable to that of Kenneth Noland, who described himself as “a one-shot painter.”Springford primed her canvases with a thin white layer that was porous enough to absorb paint. She then poured an emulsion of diluted acrylic paint onto the wet canvas and used brushes and other devices, possibly a turntable, to achieve complex layers of color expansion. She experimented with intricate layering by controlling the amount of solvent in the pigment: thinner paint would soak into the canvas more; thicker, less. 

 

Albert Stadler - Color Field

" Albert Stadler was a leading figure in the rise of color abstraction in the mid-1960s, addressing the nature of the optical experience in art. . In the catalogue for Albert Stadler’s first solo exhibition held at Bennington College in 1962, he stated that he saw his canvases as invitations “for the viewer to participate in events, in the activity of color and the relativity of space.” For Stadler, “space . . . and the “to illuminate and elucidate all parts of a painting,” while allowing viewers the opportunity to find their own way through an image. Creating both hard-edge and more ethereal paintings, Stadler united directions in Color Field and Minimalist art, often bridging the gap between the intellectual and sensual and the conceptual and spiritual......Born in New York City, Stadler attended the University of Pennsylvania and received his BFA from the University of Florida, Gainesville, in 1950. His first solo exhibition was held in 1962 at Bennington College, Vermont; it was among the important shows of modernist art organized at the college by art department director Paul Feeley.."(wsimag.com)

 

Color field painting Stanley Boxer

Stanley Boxer (1926-May 8, 2000) was an American artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker.
Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, a designation which Boxer rejected. Art critic Grace Glueck wrote "Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color."
Boxer offered an explanation of his philosophy and working process:
    In the manufacture of my art, I use anything and everything which gets the job done without any sentiment or sancity as to medium. Then, too, I have deliberately made a practice of being "visionless" ... this is, I go where my preceding art takes me, and never try to redirect the future as to what my art should look like. This is a general credo and foundation for everything I have ever done and stands firm in its solidity as this is written.
In 1953 Boxer had his first solo exhibition of paintings in New York City, and showed regularly thereafter until his death. His paintings and sculpture were represented in New York City during the late 1960s through 1974 by the Tibor de Nagy Gallery, then by the André Emmerich Gallery from 1975 until 1993, and finally by Salander-O'Reilly Galleries until its demise in 2007 .

Richard Waller, director of the University of Richmond's Harnett Museum of Art, describes his evolution as an artist: You can see the shift from working with figurative imagery in the 1940s and early '50s to abstraction in the late '50s. The abstraction in the late '60s and '70s was more derived from color-field issues. In the 1980s, Boxer really hit his stride in larger works with lots of thick paint and splashes of color. He sold a lot, and his success in the art world in the 1980s gave him the freedom to do what he wanted to do most.
One man museum exhibitions were held at the Rose Art Museum and the Butler Institute of American Art. His work is included in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Tate Gallery, the Museum of Modern Art and the Whitney Museum of American Art in New York, the Hirshhorn Museum in Washington, and the Boston Museum of Fine Art.[6]
Boxer received a Guggenheim Fellowship in 1975 and a National Endowment for the Arts Visual Artists Fellowship Grant in 1989. In 1993 he was elected as a full member to the National Academy of Design.Boxer died May 8, 2000 in Pittsfield, Massachusetts. He was 73 years old. According to Boxer's wife of 49 years, the artist Joyce Weinstein, Boxer created more than 7,000 drawings, paintings, and sculptures, about 700 of which were part of his estate at the time of his death.Wikipedia

Color Field painting Howard Mehring

Howard Mehring (1931–1978) was a twentieth-century painter born in Washington, D.C.
Howard Mehring is associated with Color Field painting and the Washington Color School and the artists at Jefferson Place Gallery. Mehring and Robert Gates both received grants from The Woodward Foundation to travel in Europe during 1971 to broaden their art backgrounds. His connection with Vincent Melzac was instrumental in developing his work. Early in his career (1956–1958) he shared studio space with Thomas "Tom" Downing, with whom he had been a student of Kenneth Noland at Catholic University. Some of their paintings from that period are difficult to tell apart.
Mehring's early work is a "Washington version" of abstract expressionism, with the loose handling of paint on a surface but a much more transparent use of magna paint, an acrylic paint developed by Leonard Bocour. The stylistic resemblance to Mountains and Sea by Helen Frankenthaler is obvious.
As Mehring developed as an artist his work became much more structured. He went from a painted surface with an all-over pattern to cutting up canvas with the all-over pattern and gluing it back together. Later he used some of those same forms to make "hard-edge paintings", such as Chroma Double from 1965, in the collection of the Honolulu Museum of Art.
Mehring and the other Washington Color School painters were in debt to the writings of Clement Greenberg. In 1964 Greenberg included Mehring in his traveling museum exhibition called Post-painterly Abstraction.Wikipedia

 

Color Field Howard Hodgkin

Sir Gordon Howard Eliot Hodgkin (6 August 1932 – 9 March 2017) was a British painter and printmaker. His work is most often associated with abstraction.
Gordon Howard Eliot Hodgkin was born on 6 August 1932 in Hammersmith, London, the son of Eliot Hodgkin (1905–1973), a manager for the chemical company ICI and a noted amateur horticulturist, and his wife Katherine, a botanical illustrator. During the Second World War, Eliot Hodgkin was an RAF officer, rising to Wing Commander, and was assistant to Sefton Delmer in running his black propaganda campaign against Nazi Germany.His maternal grandfather Gordon Hewart, 1st Viscount Hewart was a journalist, lawyer, MP and Lord Chief Justice; and the scientist Thomas Hodgkin was his great-great-grandfather's older brother.[5] Hodgkin was a cousin of the English still-life painter Eliot Hodgkin (1905–1987)
During the Second World War, Hodgkin was evacuated with his mother and sister to the USA, where they lived on Long Island, New York. On returning, he was educated at Eton College and then at Bryanston School in Dorset.He had decided on a career in art in early childhood and ran away from school to pursue this.
He studied at the Camberwell Art School and later at the Bath Academy of Art in Corsham,where Edward Piper studied drawing under him.

 Hodgkin's first solo show was in London in 1962.
In 1980, Hodgkin was invited by John Hoyland to exhibit work as part of the Hayward Annual at the Hayward Gallery along with Gillian Ayres, Basil Beattie, Terry Setch, Anthony Caro, Patrick Caulfield, Ben Nicholson and others.
In 1984, Hodgkin represented Britain at the Venice Biennale, in 1985 he won the Turner Prize, and in 1992 he was knighted.
In 1995, Hodgkin printed the Venetian Views series, which depict the same view of Venice at four different times of day. Venice, Afternoon – one of the four prints – uses 16 sheets, or fragments, in a hugely complex printing process that creates a colourful, painterly effect. This piece was given to the Yale Centre of British Art in June 2006 by its Israeli family owners in order to complement the museum's already-impressive collection of Hodgkins.
In 2003, he was appointed by Queen Elizabeth II as a Companion of Honour. A major exhibition of his work was mounted at Tate Britain, London, in 2006. Also in 2006, The Independent declared him one of the 100 most influential gay people in Britain, as his work has helped many people express their emotions to others.

 In September 2010, Hodgkin and five other British artists, John Hoyland, John Walker, Ian Stephenson, Patrick Caulfield and R.B. Kitaj, were in an exhibition entitled The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the Yale Center for British Art.
His prints were hand-painted etchings and he worked with the master printer Jack Shirreff at 107 Workshop.
A feature of his painting was that he made the frame intrinsic to the work " incorporated physically into the painting as part of its making, or created as an illusion to give definition to his subject.Wikipedia