Relevant bibliographies by topics / Abstract expressionist painting

Academic literature on the topic 'Abstract expressionist painting'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Abstract expressionist painting"

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Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (November 29, 2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.

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Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.
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Jung, Ju Eun, and Hye Kyung Kim. "A Study on Fashion Design with Application of Abstract Expressionist Painting - Focused on Franz Kline's Painting -." Korean Society of Fashion Design 15, no. 4 (December 31, 2015): 1–15. http://dx.doi.org/10.18652/2015.15.4.1.

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Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.
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Subedi, Abhi. "Abstract Paintings and Nepali Context." SIRJANĀ – A Journal on Arts and Art Education 8, no. 1 (July 13, 2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.

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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of the public is a universal problem. But now the gap is being narrowed down everywhere. The concept of abstract art in Nepal comes from education in schools in Europe and India in the initial phase and later in Nepal itself where art pedagogy became a norm in different art schools and colleges. But artists freely made their paintings abstractas the commonly accepted mode of art. Artists of different generations execute abstract paintings without being critical or interpretative about it. But now things are changing in Nepal. New generation artists who are oriented to the abstract and free forms of art are working to develop a system by putting together the art education, practice and very importantly, the level of public acceptance for that. We should carefully review the history and the present status of that. We should also make the art works 'desirable'. The other important character of Nepali abstract painting is that the artists always work in the contact zones of the representational and the expressionist features. I have interpreted that meeting point as a contact zone. This article attempts to give examples of that dynamic process. Nepali abstract paintings mark a new mode of artistic dynamism in Nepal.
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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.

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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.
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Stoker, Wessel. "De Rothko kapel schilderijen en de ‘urgentie van de transcendente ervaring’." NTT Journal for Theology and the Study of Religion 62, no. 2 (May 18, 2008): 89–105. http://dx.doi.org/10.5117/ntt2008.62.089.stok.

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Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s ‘Monk by the Sea’. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious transcendence. In this article I investigate how the experience of transcendence that Rothko’s paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich’s broad concept of religion? Does it display affinity between Rothko and the postmodern sublime of Lyotard? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko’s understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology.
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Fox, Christopher. "British Music at Darmstadt 1982–92." Tempo, no. 186 (September 1993): 21–25. http://dx.doi.org/10.1017/s0040298200003065.

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The new music summer school in Darmstadt is perhaps the most important gathering of and performers of contemporary music in Europe. Launched in 1946 in the then American Zone of occupied Germany, as part of the postwar process of internationalization (and, therefore, de-Nazification) of German culture, the Darmstadt Ferienkurse quickly gained a reputation as a forum for the promulgation of a radically abstract musical aesthetic, based on reductive analyses of the serial works of Webern in particular. While some composers saw this new aesthetic as a ‘mechanistic heresy’, the music of what came to be known as the Darmstadt School – Boulez, Maderna, Nono, Stockhausen – soon attracted official support since, like Abstract Expressionist painting, ‘a seemingly abstract art could readily be elevated as an emblem of “terrible freedom”’. This ‘terrible freedom’, the freedom to be unpopular, was a potent symbol of Western individualism in the symbolic battle that characterized the European theatre of the Cold War during the 1950s.
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Hayati, Rizka Azizah. "Self Healing dari Trauma Masa Lalu dalam Karya Seni Lukis Abstrak." INVENSI 6, no. 2 (December 16, 2021): 109–19. http://dx.doi.org/10.24821/invensi.v6i2.4648.

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ABSTRAK Manusia sering kali menolak emosi negatif, sebagai bentuk pertahanan diri yang berpengaruh negatif kepada alam bawah sadarnya. Pada beberapa kasus, hal ini bisa menyebabkan trauma dan self healing sangat penting untuk memperbaiki hal-hal yang belum terselesaikan itu, agar bisa berdamai dengan masa lalu untuk hidup yang lebih baik. Latar belakang tersebut merupakan landasan bagi pencipta dalam berkarya. Selain observasi pada diri sendiri dan lingkungan sekitar, penciptaan ini juga menggunakan teori Sigmund Freud sebagai referensi. Bentuk yang dihasilkan berupa seni lukis mix media. Penciptaan seni ini ditujukan sebagai media katarsis diri penulis dengan pemaknaan ulang kejadian dari masa lalunya. Self Healing from The Past Trauma in the Expressionist Abstract Painting ABSTRACT People tend to resist negative emotion as a form of self-defence that mostly gives bad impacts on their subconscious. In some cases, it could be a trauma whereas self-healing was needed in this situation to live better as the result of passing over the bad experiences. It became the foundation of the creator to create the work. Besides doing observations, the theory of Sigmund Freud was also followed as a reference. The shapes created were in the form of mixed media painting. The work was intended as a medium for the creators to re-interpret the past event as a self-catharsis.
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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay and Marc Chagall used the image of the tower most frequently. Maurice Utrillo, Raoul Dufy, Fernand Léger, Diego Rivera, Max Beckmann and Christian Schad can also be counted among the artists who picturised the tower. The Eiffel Tower appears differently in the eyes of pointillist, expressionist, orfist, cubist and abstract painters. Keywords: Eiffel Tower, European art, painting.
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BOUTWELL, BRETT. "Morton Feldman's Graphic Notation: Projections and Trajectories." Journal of the Society for American Music 6, no. 4 (November 2012): 457–82. http://dx.doi.org/10.1017/s1752196312000363.

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AbstractIn the winter of 1950–51 Morton Feldman composed a series of pieces titled Projections in a new notation of his own invention. The first-known graphically scored works of the postwar era, the Projections were immediately championed by Feldman's friend John Cage in the language of his budding philosophy of non-intention, a framework of thought largely alien to Feldman. In later years, Feldman instead explained the Projections through the discourse of abstract-expressionist painting, substituting its model of willful creative action for Cage's Zen-inspired doctrine of aesthetic indifference. Yet the story behind his graphic notation is more tangled still, for its sources included both Edgard Varèse and Stefan Wolpe, composers whose spatialized vision of sound influenced Feldman's new conception of the creative act. An examination of the origin and reception of the Projections offers insight into the forces that catalyzed experimental notation in postwar New York and the rationales that were ultimately ascribed to it.
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Dissertations / Theses on the topic "Abstract expressionist painting"

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Ellis, Hele. "Decentering the subjective: The transcendent experience of formlessness in an abstract expressionist painting practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107658/1/Hele_Ellis_Thesis.pdf.

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This practice-led research project is based on the experimental strategy of Formlessness within painting, a negation of representation within the compositions, which potentially act as a pathway to sensory immersion and without a subject-matter to an awareness of Self. The colour palette chosen for the colour fields introduces chromatic couplings that are specifically hung for maximum charge. The colours present as taking on their own lives, explaining the compelling force behind these works that lead to a pure sensation. Key tenets of Anthroposophy - with particular concern towards Steiner's writing on colour - are central to the theoretical position the project takes.
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Friend, Zoe L. "Normal What." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1305.

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The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
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Friend, Zoe L. "Normal What." University of Sydney, 2005. http://hdl.handle.net/2123/1305.

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Master of Visual Arts
The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
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Geer, Andrea. "The non-representational language /." Online version of thesis, 1990. http://hdl.handle.net/1850/11309.

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Smith, Catherine Dicesare. "Synergistic qualities of form and space /." Online version of thesis, 1996. http://hdl.handle.net/1850/11927.

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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.

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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.

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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.
Master of Arts
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Wang, Hui Ping. "The British response to abstract expressionism of the USA c. 1950-1963." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/461.

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Abstract Expressionism was arguably the most important art movement after the Second World War and it has in many ways influenced all subsequent art movements in the West. This thesis investigates the presence of Abstract Expressionism in Britain and responses to it in the 1950s and early 1960s. Abstract Expressionism was presented to the British public through literature and exhibitions by individual Americans and by American institutions after 1947, but it was not until 1956 that Abstract Expressionist paintings became accessible in any quantity. While it was denounced by many, it won sympathies from two main groups of artists: firstly, established painters who were exploring the incorporation of abstract form with imagery from landscape and figure, and secondly, the younger generation of art students. The British constructivists were unaffected. For these established painters, Abstract Expressionism was more of a pure inspiration than a stylistic stereotype. A few of them experienced dramatic changes of style as a result, while others showed a very restricted interest in it. The reai impact was on the young artists. Under the influence of the Independent Group, which helped in generating an awareness of a new urbanism in London, they treated Abstract Expressionism and its later development Post-Painterly Abstraction, as an authentic reflection of contemporary society. They were not only eager to contribute to it but also to embrace it as their own. At the end of the 1950s, the majority of critics had accepted current status of Abstract Expressionism. Its two major British critics, Patrick Heron and Lawrence Alloway, were activists on t he contemporary art scene. Heron restricted his argument by what was essentially a combination of the painting qualities that Roger Fry had qualified and the idealism of the 1930s abstraction promoted by Herbert Read. Alloway, on the other hand, successfully exploited Abstract Expressionism to promote a new British-movement. His ideas, inspired by Abstract Expressionism as well as American consumerism, popular culture, science and technology, were embraced by young artists. British art was thus transformed in the 1960s, to a urbanisminspired art, which came from the "real' world and was receptive to its influence, rather than retreating into landscape, a psychological inner world or the realms of artistic idealism.
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Nauronis, Gintautas. "Abstrakti vizija." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120211_115650-43829.

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Darbais kuriame savo istoriją, tarsi stebuklinį mitą, kuris tampa savotišku veidrodžiu, rodančiu regimus ir neregimus mūsų sielos pavidalus. Gintauto Nauronio tapyba taip pat jo gyvenimo metraštis, abstraktūs vaizdai, žmogaus pažvelgimas į save, į savo vidinį pasaulį, charakterio, temperamento savybes, egzistenciją. Aliejinės tapybos darbų kolekcija "Abstrakti vizija"- tai sielos harmonija, kurios nereikia filosofiškai paaiškinti – užtenka išgyventi, pajusti, nuspėti. Dailininko prigimtis, įvaldyta tapybinė technika, sugebanti įkvėpti gyvybę drobei. Įvairiausių spalvų ir atspalvių deriniai, kompozicijose panaudota linija, tapybos ciklui suteikia ypatingo skambesio. Darbuose dvelkianti ramybė, nuoširdumas, tyrumas, fantazija, jautrumas, optimizmas, ryžtas, geros, šviesios mintys užpildo naujais pojūčiais kiekvieno žiūrovo sielą ir gerą nuotaiką… Dinamiškas modernistinis tapymo būdas, kurio pagrindas - tikėjimas, esą vidines pajautas, intuicijas, jausmus, potyrius bei būsenas betarpiškai perteikia spontaniška estetinio impulso raiška, suardanti nusistovėjusį pasaulį, jo vaizdą ir deformuojanti jo pavidalus. Magistro darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo. Teorinėje dalyje apžvelgiama kolekcijos koncepcija, idėjos ir temos paieška, darbe nagrinėjama problema, darbo tikslo bei uždavinių konkretizavimas, apžvelgiamos abstrakcionizmo, ekspresionizmo, fovizmo temos, spalvos reikšmė mene, kompozicijos... [toliau žr. visą tekstą]
By works we create own history, sort of magic myth, which becomes a peculiar mirror showing visible and invisible our shapes of soul. The painting of Gintautas Nauronis and also his chronicle of life, abstract images, and human’s look into himself, his inner world, character, temperament’s features, existence. The creative collection of oily paintings Abstract Vision – it is soul‘s harmony, which is needn‘t to explain philosofically – it is enough to outlive, feel, foresee. The nature of painter, acquired pictorial technique, which is able to animate for a linen. The combinations of various colours and tones, a line used in the composition give a special sound for cycle of painting. The calm, warm, energy, breath, optimism, strength, sensibility and even love whiffling in the paintings, fill every spectator‘s soul and moode by new feelings... Dynamic modernistic method of painting, whose principle - belief that sensations, intuitions, feelings, experiences and states are proximately conveyd by spontaneous aesthetical expression of impulse, which destroys a well-established view of life and deforms its shapes. Dissertation consists of to parts: theoretical schedule and practical creative work. In the theoretical part it is overlook ideas and search of theme, the significance of abstractionism, expressionism, fovism and colour in the art, conception of composition, it is also provided theoretical material of Dr. Robert Belton What is Art?, What is... [to full text]
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Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.

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Orientador: Denise Hortencia Lopes Garcia
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008
Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
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Books on the topic "Abstract expressionist painting"

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Richenburg, Robert. Robert Richenburg: Abstract expressionist. Waltham, Mass: Rose Art Museum Brandeis University, 1993.

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David, Thistlewood, and Tate Gallery Liverpool, eds. American abstract expressionism. Liverpool: Liverpool University Press and Tate Gallery Liverpool, 1993.

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Rosenberg, Eric M. Friedel Dzubas: Critical painting. Medford, MA: Tufts University Gallery, 1998.

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Silverman, Bonell. Bonell Silverman: New paintings. New York: Ulysses Gallery, 1994.

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Bothner, Roland. Action painting, das Ende der Malerei: K.R.H. Sonderborgs Chicago-Wabash-Serie. Heidelberg: Edition Publish & Parish, 1999.

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1926-, Mitchell Joan, Nochlin Linda, Lee Yvette Y, and Whitney Museum of American Art., eds. The paintings of Joan Mitchell. New York: Whitney Museum, 2002.

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Silverman, Bonell. Bonell Silverman: New paintings : an exhibition. Vienna: Ulysses Gallery, 1992.

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Silverman, Bonell. Bonell Silverman: New paintings : Galerie Ulysses. New York: Ulysses Gallery, 1993.

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Bradley, Lisa. Lisa Bradley: October 15-November 17, 1998 ; the unity of being. New York, NY: Donahue/Sosinski Art, 1998.

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Bradley, Lisa. Lisa Bradley: February 3-February 27, 1993. New York, NY: E.M. Donahue Gallery, 1993.

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Book chapters on the topic "Abstract expressionist painting"

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Kajiya, Kenji. "Painting as Information: The Reception of Abstract Expressionism in Japan." In American Art in Asia, 51–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-5.

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"Foreword to William C. Seitz's abstract expressionist painting in America 1983." In The Writings of Robert Motherwell, 331–35. University of California Press, 2007. http://dx.doi.org/10.1525/9780520940512-086.

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Pollock, Jackson. "My Painting." In Reading Abstract Expressionism, 139–40. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-011.

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Greenberg, Clement. ""American-Type" Painting." In Reading Abstract Expressionism, 198–214. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-027.

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"6. Painting Through Primitivism." In Abstract Expressionism: Other Politics. Yale University Press, 1999. http://dx.doi.org/10.37862/aaeportal.00006.010.

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Shapiro, David, and Cecile Shapiro. "Excerpt from "Abstract Expressionism: The Politics of Apolitical Painting," Parts." In Reading Abstract Expressionism, 338–45. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-041.

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Saltzman, Lisa. "Reconsidering the Stain: On Gender, Identity, and New York School Painting." In Reading Abstract Expressionism, 560–80. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-053.

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"International Reaction to Alfred H. Barr Jr., 'The New American Painting"." In Reading Abstract Expressionism, 220–26. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-029.

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Baigell, Matthew. "Barnett Newman' s Stripe Paintings and Kabbalah : A Jewish Take." In Reading Abstract Expressionism, 615–25. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-056.

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"Introduction: Framing Abstract Expressionism." In Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. Yale University Press, 1993. http://dx.doi.org/10.37862/aaeportal.00101.003.

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Conference papers on the topic "Abstract expressionist painting"

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Wang, Youyou, and Ergun Akleman. "Turning photographs into abstract expressionist paintings." In ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2342896.2342976.

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Sucitra, I. Gede Arya, Retno Purwandari, and Kadek Primayudi. "Paradigm of Abstract Expressionism Painting of Balinese Artists in Yogyakarta." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008557001770185.

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Dwarakanath, T. A., A. Ghosal, and U. Shrinivasa. "Kinematic Analysis and Design of Articulated Manipulators With Joint Motion Constraints." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0265.

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Abstract:
Abstract This paper deals with kinematic analysis and design of articulated manipulators having constraints on joint motions. For an articulated manipulator with joint rotation constraints, the workspace is composed of several bounding surfaces and the number of bounding surfaces depend on the ranges and the mean positions of joint rotations. We show that the maximum workspace is not necessarily obtained for equal link lengths but is also determined by the range and mean positions of the joint motions. We present expressions for sectional area, workspace volume, overlap volume and work area in terms of link ratios, mean positions and ranges of joint motion. To ensure maximum utilization of a manipulator in applications such as painting and welding, instead of the total workspace, it is often of more interest to obtain the maximum regular area or volume that can be embedded inside the workspace. In this paper, we present a numerical procedure to obtain the maximum rectangular area that can be embedded in the workspace of an articulated manipulator with joint rotation constraints. The analytical expressions and the numerical plots are used for the kinematic design of an articulated manipulators with joint rotation constraints.
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