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"nonobjective" Definitions
  1. not objective
  2. representing or intended to represent no natural or actual object, figure, or scene

39 Sentences With "nonobjective"

How to use nonobjective in a sentence? Find typical usage patterns (collocations)/phrases/context for "nonobjective" and check conjugation/comparative form for "nonobjective". Mastering all the usages of "nonobjective" from sentence examples published by news publications.

Many could be mistaken as abstract paintings 80 years before the coming of nonobjective art.
"I felt like he voices his own opinions and takes an nonobjective view out there," Harrell said.
Moyer has filled a room with large acrylic-on-canvas paintings in her signature butterfly and nonobjective compositions.
In this piece, we find De Forest deftly blending autobiography (although, perhaps, he is nonobjective) with a personal mythology rendered such that it feels universal.
In Western art, the names most often associated with the earliest nonobjective abstract painting are Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, Robert Delaunay, and Frantisek Kupka.
Decades before becoming New York's Pied Piper for nonobjective art, he had established a reputation in Europe for navigating and remaking realism in his own image.
In 1907, the Russian artist Wassily Kandinsky hadn't yet published On the Spiritual in Art, his landmark treatise on nonobjective painting, nor made his first abstract work.
Decades before becoming New York's Pied Piper for nonobjective art, Piet Mondrian had established a reputation in Europe for navigating and remaking realism in his own image.
And she began telling her sitter about wonderful kinds of new art coming out of Europe: abstract art — she called it nonobjective — that reached for the spiritual realm.
Early works on paper here — such as a pair of collages from 1961 that feature notched rectangles of pure red — disclose the influence of Russian Suprematism on Ms. Molnár's nonobjective art.
HILMA AF KLINT: PAINTINGS FOR THE FUTURE This Swedish painter's will prohibited public showing of her precociously nonobjective paintings, made in the early part of the 20th century, until 20 years after her death. Oct. 12-Feb.
Cuba was introduced to nonobjective or abstract art in 1949, with a Havana exhibition of works by Sandú Darié, a Romanian who emigrated to the island in 1941 and became a crucial force among the artists of the 10.
Earlier images of a church belfry, hilltop castles, threateningly fantastic monsters, natural phenomena like the cloud-covered moon or breaking waves, and even a spider industriously toiling in its web seem to melt into the nonobjective atmosphere of ink-stained paper.
With leaf-like green and pink cutouts integrated among nonobjective forms, the painting is her most confident investigation into the interrelationship between the abstract forms in art and nature, in which nature reproduces itself through aesthetic displays, from flower blossoms to peacock struts, that resemble the artifice of painting.
This is Mondrian's realist swan song before turning decisively to nonobjective art, spelling out nature's core symmetries and linear formations — the same ones he would use to transform the urban grid of midtown Manhattan 20 years later, turning the fresh American cityscape into "Broadway Boogie Woogie" (1942-43).
Circa 1990–2005, LaBerge's oil paintings were primarily realistic or painterly-realistic. Her art work from 2006 and later became ever more abstract—finally moving toward nonobjective subject matter.Artist Mia LaBerge. Stylistic Range. Artandjunk.com.
Al Held. Hudson Hills Press. Print. Pg 30 All of the paintings were nonobjective meaning the artwork does not represent a person, place or thing. Untitled from 1964, in the collection of the Honolulu Museum of Art is an example of the artist's hard-edge style.
They were Stephen Longstreet, Helen Lundeberg, Cavanna, and Lorser Feitelson. By then the former actress signed her name simply, Elise. Cavanna and Feitelson presented only nonobjective paintings, though each worked in representational modes. Both artists were similar in "using only flat-colored, near geometrical forms", which either opposed or complemented each other.
Hill also explored nonobjective abstraction. Hill said in 1991, "Art widens the scope of the inner and outer senses and enriches life by giving us a greater awareness of the world." In 2018 through 2020, her painting was exhibited in the exhibition Hearts of Our People: Native Women Artists at the Smithsonian American Art Museum.
László Dús (born 14 July 1941, Zalaegerszeg) is an Americanized Hungarian-born visual artist. Dús is known for nonobjective Modernist prints. Several of his prints are in the permanent collections of the U.S. National Gallery of Art. Dús prints are also in the collections of the Renwick Gallery and the Smithsonian American Art Museum. .
17 March 2015. pg. 21 These collage paintings represent Krasner's turn away from nonobjective abstraction. From this period onwards, she created metaphorical and content-laden art which alludes to organic figures or landscapes. From 1951 to 1953, most of her works were made from ripped drawings completed in black ink or wash in a figurative manner.
In 1934, she created an abstract fresco at Oakland's Piedmont High School. This was part of the Federal Art Project, which strongly preferred paintings depicting American scenes, but some abstracts such as this work by Falkenstein were tolerated. During the 1930s she created sculptures from clay ribbons formed into Möbius strips, woven together. These were some of the earliest American nonobjective sculptures.
Los Angeles Times, "Functionists' Work Hailed As Brilliant", January 17, 1954, Page E7. Cavanna was one of the first nonobjective painters in southern California. Each one of her pictures was brightly colored, filled with energy, and could be viewed as a separate portion of a frieze. Feitelson and Lundeberg wrote a manifesto in 1934, describing their art as post- surrealism.
Werner Drewes (1899-1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting.
Ernst Badian, "Thucydides and the Outbreak of the Peloponnesian War. A Historian's Brief" in Conflict, Antithesis and the Ancient Historian, ed. June Allison, (Columbus 1990), pp. 46–91 In keeping with this sort of doubt, other scholars claim that Thucydides had an ulterior motive in his Histories, specifically to create an epic comparable to those of the past such as the works of Homer, and that this led him to create a nonobjective dualism favoring the Athenians.
In the 1960s, Shapiro was part of the Abstract Expressionist movement, but a 1970 Paris exhibition of early 20th century Expressionist painters inspired him to pursue landscape painting for the next two decades. His works were characterized by bold color and gesture. His 1982 move to Santa Fe, New Mexico crystallized his love of landscape painting. In the 1990s, he shifted back to nonobjective abstract, but influenced of the land can still be discerned in his recent paintings.
Heiliger's diverse output stretches from his early, organically abstracted figures to his late nonobjective, geometric abstractions. His early work (1945–1962), focuses on the human figure, which is treated in an organic style influenced by Aristide Maillol and Henry Moore. Also from this period is a series of portrait busts of prominent contemporary Germans. The artist departed from the human figure in his second period (1962–1970), instead developing imagery of the "flight of birds and vegetable forms"Ulrike Lehmann.
In 1900, after the death of his father, he moved to Paris to attend the School of Eastern Languages. There and in Leipzig and Odesa he studied French, German, Russian and other languages. His main work was a study about the Black Legend, in which he denounced the tendentious, nonobjective historical writing or propaganda about Spain, its people and its culture. Years after his death, Juderías' works greatly influenced conservative thinkers such as Ramiro de Maeztu and José María de Areilza.
Helen Beling (1914 – March 12, 2001) was an American sculptor. Beling was a native of New York City who studied at the National Academy of Design and at the Art Students League of New York; her instructors included Lee Lawrie, Paul Manship, and William Zorach. She was a nonobjective sculptor, and worked in a variety of media during her career, including bronze, ceramic, and wood. Her work was exhibited at the Metropolitan Museum of Art and the Whitney Museum of American Art.
In 1951 he taught at Queen's University in Kingston, Ontario. From 1952 to 1954 he painted in Paris on a government fellowship. Returning from France in 1954, he developed abstract and nonobjective tendencies in gouache and oil landscapes, while his watercolours focused on the intimate details of nature. Humphrey's paintings of the harbour, streets and workers of Saint John in Canada established his reputation as a regional artist and his work extended to numerous portraits of friends and the city's children.
He served four years in the army during World War II. On December 1, 1945 he married Margretta M. MacNicol, and the couple moved from Detroit to Colorado Springs, Colorado, where Goehring studied art at the Colorado Springs Fine Arts Center from 1947 to 1950, beginning a 59-year residence in Colorado Springs. There he studied with Jean Charlot and Emerson Woelffer. An abstract expressionist, he developed a nonobjective style rooted in the landscapes and native cultures of the American West, producing works of art noted for their elegance, rich colors, fine finish and pervading air of mystery.
Between 1963 and 1969 in Latin America there was a movement aimed at transforming nonobjective abstraction into penetrable forms. A key concept in this repertoire was an experience of density as a penetrable experience. However, penetrable works by Schendel, among others, displace density, transforming it and using it to transcend purely sensory perception and therefore suggesting new dimensions according to Perez-Oramas. Penetrable works by Schendel at the end of the 1960s contributed heavily to the conversion of abstract form into a specific place that began demanding participation from the viewer. Schendel’s Perfurados creates constellations, clusters, and spiderwebs of light, walls, or undersurfaces shining through their pinpricked surfaces.
Typically, abstraction is used in the arts as a synonym for abstract art in general. Strictly speaking, it refers to art unconcerned with the literal depiction of things from the visible world—it can, however, refer to an object or image which has been distilled from the real world, or indeed, another work of art. Artwork that reshapes the natural world for expressive purposes is called abstract; that which derives from, but does not imitate a recognizable subject is called nonobjective abstraction. In the 20th century the trend toward abstraction coincided with advances in science, technology, and changes in urban life, eventually reflecting an interest in psychoanalytic theory.
Artists in the United States and Europe explored the qualities of fabric to develop works that could be hung or free standing, "two or three dimensional, flat or volumetric, many stories high or miniature, nonobjective or figurative, and representational or fantasy." In the UK the founding of The 62 Group of Textile Artists coincided with a growth in interest in using textile media in a fine art context. The women's movement of the same era was important in contributing to the rise of fiber art because of the traditional association of women with textiles in the domestic sphere; indeed, many of the most prominent fiber artists are women. Since the 1980s, fiber work has become more and more conceptual, influenced by postmodernist ideas.
The building rises as a warm beige spiral from its site on Fifth Avenue; its interior is similar to the inside of a seashell. Its unique central geometry was meant to allow visitors to easily experience Guggenheim's collection of nonobjective geometric paintings by taking an elevator to the top level and then viewing artworks by walking down the slowly descending, central spiral ramp, the floor of which is embedded with circular shapes and triangular light fixtures to complement the geometric nature of the structure. However, when the museum was completed, a number of details of Wright's design were ignored, such as his desire for the interior to be painted off-white. Price Tower in Bartlesville, Oklahoma (1956) The only realized skyscraper designed by Wright is the Price Tower, a 19-story tower in Bartlesville, Oklahoma.
The "things" we are conscious of are "mere concepts" (vijñapti), not 'the thing in itself'. In this sense, our experiences are empty and false, they do not reveal the true nature of things as an enlightened person would see them, which would be non-dual, without the imputed subject object distinction. The Yogācāra school philosophers Asaṅga and Vasubandhu criticized those in the Madhymamika school who "adhere to non- existence" (nāstikas, vaināśkas) and sought to move away from their negative interpretation of emptiness because they feared any philosophy of 'universal denial' (sarva-vaināśika) would stray into 'nihilism' (ucchedavāda), an extreme which was not the middle way. Yogacarins differed from Madhyamikas in positing that there really was something which could be said to 'exist' in experience, namely some kind of nonobjective and empty perception.
She kept the mindset that it was what was painted and not who painted it that mattered. With that being said, her pieces are just now being given the attention they deserved a long time ago such as an exhibition in 2016 in the Denver Art Museum, “Women of Abstract Expression” and Women of Abstract Expressionism from the 9th Street Show at the Katonah Museum of Art and Artistic License: Six Takes on the Guggenheim Collection. At the time, Fine was seen to be close with another Artist by the name of Mark Rothko. Her work also was seen to be similar to his but, Fine found her work not seeking his “sublime transcendence”. In 1943 was able to receive a grant from the Guggenheim Foundation and was able to be in exhibitions at Peggy Guggenheim’s Art of this Century Gallery and the Museum of Nonobjective Painting.
It was in 1940 that Fine opened her own gallery but later, in 1946, Fine accepted an offer to work for Karl Nienrendorf whose gallery was across the street from the Willard Gallery, it was at this gallery that Fine received a subsidy so she could paint full-time. During a show within the Nienrendorf Gallery Edward Alden Jewell, an art critic dismissed abstraction when it first came out in the 1930s calling it decorative and imitative of European avant-garde, however called Fine's pieces "aplomb" and "native resourcefulness". In 1947, Fine was featured in an issue of The New Iconograph which showcased nonobjective art and theory. It was written that even though she was a member of American Abstract Artists, her work was different in spirit than that of Ralston Crawford and Robert Motherwell. It was in 1950 she was nominated by Willem de Kooning and then admitted to the 8th Street "Artists' Club",Artists' Club located at 39 East 8th Street.
Living and working in New York City Swain is a longtime member of the “Hunter Color School”, along with Doug Ohson, Gabriele Evertz, Vincent Longo, Joanna Pousette-Dart, and Sanford Wurmfeld. Swain is the recipient of a grant for painting from the John Simon Guggenheim Foundation in 1969, a CAPS Grant (painting), from the State of New York, in 1982, and two Grants from the National Endowment for the Arts (painting); the first in 1976, and again in 1989. Teaching at Hunter College from 1968-2014 Swain was awarded the Distinguished Teaching Art Award from the College Art Association in February 1998. He has given numerous Visiting Artist lectures, served on various Fine Art Juries and participated in many panel discussions, such as the Artist’s Panel at The Museum of Modern Art, entitled Tony Smith: Artists’ Responses (1998) and, Seeing Red, Part III: Color as an Experience: A Two- Day Symposium on Contemporary Nonobjective Painting and Color Theory, at the Goethe–Institute Inter Nationes, New York (2003).

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