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Thursday 11 April 2013

Abstract Art For Sale Pictures Galleries Wallpaper Paintings

Abstract Art For Sale Definition

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Drew Knapp is a visual artist working in a variety of media, including painting, printmaking, woodworking, and photography.
Knapp's work displays a highly personal synthesis of intermixing materials and methods, encompassing both technical experimentation and spiritual growth.
It is improvisational, non-objective and organic, and is reflective of nature: evoking landscapes, cloud formations, tree shapes, stained glass, sidewalk cracks, ancient stone walls, and biological transformations. Many of the forms and processes are inspired by observations the artist made while restoring historic edifices. The oil paintings: thick, crusty and liquid, are executed on unstretched canvas and mounted on paper, rectangular but slightly irregular. Airbrush, silkscreen, collage, wood, metal and plaster inlay are freely intermingled, forming a quirky tapestry of passion, sensuality and monastic asceticism.
Knapp, originally of Livingston, N.J., began his training with Edwin Havas at Seton Hall Preparatory School, and then attended The Cooper Union where he studied principally with Stefano Cusumano. He graduated in 1975 and joined City Without Walls in Newark, N.J., helping to establish an art gallery, traveling exhibition, workshops and an urban street theater company. He subsequently taught art history at the Newark School of Fine and Industrial Arts.
In 1978 Mr. Knapp was awarded a Rotary Fellowship to study at Villa Schifanoia in Florence, Italy, and received his M.A. in painting, drawing and printmaking from that institution in 1979. Knapp lived in Florence for six years, during which time he taught at Studio Art Centers International, continued his studies privately with American painter Leonard Meiselman, and undertook his first restoration of an historic property, located in the mountains of Loro Ciuffenna, Provincia di Arezzo.
After returning to the U.S. in 1984 he taught successively at St. Benedict's Preparatory School, the Newark Board of Education, and The Montclair Kimberley Academy. He also continued restoration of antique houses, completing several major projects in New Jersey. In 1988 he won a prestigious award from Chemical Bank for his work on a two family house in Newark.
In recent years Knapp has exhibited with Studio Montclair, The Space, and Six Men Working. He continues involvement with restoration and development in both Montclair, N.J. and Woodstock, N.Y., where he is pursuing his dream of building a house, studio, woodshop, wine hermitage, and treehouse in the rugged terrain bordering the Indian Head Mountain Reserve.
Drew Knapp's artwork is in numerous private and public collections in the United States and abroad, including: Price Waterhouse Coopers, Newark Benedictine Abbey, The Forbes Collection, Accudata Systems, and the late Manuel Alvarez Bravo.
As I work as an abstract painter I consider it important to define myself within this huge framework in terms of its history and development. Abstract Art already existed in the archaic style epochs, and it was rediscovered through Modernism as an adequate means of expression encompassing all the changes that had occurred in the 20th century on how man saw himself and the world (see also "Essay on Art in the 20th Century")
From an etymological point of view "Abstract Art/Abstract Painting" means detached, non-representational, object-free art (from Latin: abstrahere - "to detach")
It was the Russian painter Wassily Kandinsky (1866-1944) who practically and theoretically defined Abstract Painting. Very soon two main currents developed: on one hand one deriving from Expressionism which was very emotional and later evolved into a free, gesture-driven way of painting (Free Painting). This movement aimed at the complete dissociation from representational art and emphasized color, form, structure and composition (Wassily Kandinsky, Ernst Wilhelm Nay, Hans Hartung). At the same time however yet another trend evolved; a rather intellectual, Cubism influenced, Geometrical Abstract Art (Michail F. Larionow, Frantisek Kupka, Kasimir Malewitsch, Piet Mondrian). This bias later evolved into "Post-Painterly Abstraction", an art of Geometric forms without any personal handwriting by the painter. Main representatives hereby are Frank Stella ("What you see is what you see"), Louis Noland, Ellsworth Kelly, Al Held, Jules Olitsky.
What both movements have in common is that they overcome representational art and thus become detached from their own origin in the Greek civilization (with its tradition of representing man, in contrast to the Ornamentalism of the East). The artist wants to represent his inner self, the non-visible instead, and thus gives a spiritual dimension to his work. Only color, form and line count and structure and composition become very important. Abstract working artists very often also call their work Absolute Art, which, alienated from its cultural roots, opens uptowards a total freedom.
Abstract Expressionism, Informal Art, Gesture of Color
Etymologically seen "Expressionism" and Expressionist Painting" means first of all expressive art: the artist wants to express his feelings and thoughts, and do so undisturbed by any object-centered representation.
In Germany, Abstract Expressionism originally had been the term that described some of the works Kandinsky painted in the 1920's. However, it was not until the 1940ies and 1950ies that it gained importance being emphasized by the artist group New York School (William Baziotes, Arshile Gorky, Hans Hofmann, Franz Kline, Willem de Kooning, Robert Motherwell, Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still). Ab-Ex now referred to a very new, free way of paining which was partially influenced by European Artists who had emigrated to the U.S.A. for political reasons.
In the meantime in Europe the French Tachism developed (a spontaneous application of blots of paint without considering any principles of composition), and later Informel (or: Informal Art). The latter was a trend that demanded a completely "in-formal art" and rigorously dismissed both geometric forms and abstract or conceptual representation of real objects (Antonio Tàpies, Jean Dubuffet, Wols (Wolfgang Schulze)). Of course, all these movements influenced themselves mutually and there was a lively exchange between America and Europe.
Informal Abstract Expressionism
In Informal Abstract Expressionism all rational drafts are renounced in favor of a spontaneous way of working in large gestures. The result is an unplanned, quick mode of operation that is sometimes referred to as Automatism. The goal is to ideally work without any control by the intellect and thus create art that stands beyond any aesthetic or moral view.