Jules olitski
Jules Olitski, Kenworth Moffett - 730 OLI/MOF
tried painting blindfolded
"as open drawing developed it called for some greater resistance, some stronger challenge to the rhythmic movement of the hand. If this resistance could no longer come from the visible world then it had to come from matter itself, matter as paint on the picture's surface."
"I was trying to extend Rembrandt's use of flowing paint, his chiaroscuro, and just as much, his impasto into modern painting; for the most part abstract."
"thickest impasto coincides both with the approximate centre.. of the picture and the area of greatest highlight" page 20
"Olitski made an abrupt shift in style that suddenly aligned his art with what was then the most advanced American painting." "his canvases became larger, their surfaces stripped of bare impasto or paint texture of any kind. Prismatic colours soaked into the canvas appeared as bright biomorphic-looking shapes" "It had little to do with subtleties.. but a great deal to do with vivid contour, placement, and colour as hue. Above all it was now scale and colour, two features neglected by... early twentieth-century abstractionists" pg 24
"in 1972 he began using heavy gel and a squeegee, with which he was able to achieve a one-to-one visual identity between a paint density change and value change." "here the canvas is simply covered with paint" pg 61
No comments:
Post a Comment