Perle fine biography books

It appears your browser does not have it turned on. Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! There are no reviews yet. Here, shapes in primary colors and white float on a black background and are tenuously connected by thin lines, creating playful juxtapositions and relationships.

The title refers to the simultaneity of sounds, and in fact, many of her paintings from the mids were influenced by music and dance, as well as forms found in outer space and nature. While not so blatantly grid-like, one can also sense her friend Mondrian's influence as well; Fine uses line and color to represent the tempo and movement of music.

One critic reviewed her first solo exhibition by describing Polyphonic as an "immobilized" Alexander Calder, and in fact the bulbous, organic forms connected by thin, wiry lines do recall Calder's famous mobiles. With all of these invocations of modern masters, here we see Fine developing her own geometric style that evoked feelings and moods rather Surrealistic fantasies.

Oil on canvas - The Solomon R. During the early s, when she was socializing with and exhibiting along side other prominent Abstract Expressionists, Fine created a series of abstract collages that would serve as inspiration for a later series of prints. In Wide to the Winda dark mass moves left to right across the center of the composition and recalls her previous works' play with movement, space, and nature.

The earth colors combined with reds, roses, yellows, and white are evocative of a landscape but do not coalesce into recognizable forms, perhaps suggesting the invisible forces of the wind alluded to in the title. Many of these collages took on darker tones, and over time grew larger in scale, incorporating a more gestural application of paint and perle fine biography books materials including scraps of paper, gold leaf, and foils.

While Abstract Expressionism is dominated by painting, artists including Robert Motherwell, Lee Krasner, Anne Ryan, and Esteban Vicente along with Perle Fine explored the aesthetic possibilities of collage, a medium that had largely languished in the United States in the middle of the 20 th century. Eschewing the more overt appropriations of mass culture imagery as practiced by earlier Dadaists and more contemporary artists like Robert Rauschenberg, Fine recycled bits of paper to emphasize the materiality and tactility of her surfaces.

Her early studies of Cubist collage and Mondrian's working process of using bits of colored tape surely allowed her the freedom to pursue collage in its own right and not just as a peripheral undertaking, secondary to her painting. Gouache and collage on paper - Collection of Thomas and Darlene Furst. After several years of living in Springs, East Hampton, Fine embarked on a new series of paintings she called the Cool Series ; here, she pared down her gestural, abstract practice of her early career and reduced her palette to just a couple of colors.

In No. Fine did not necessarily see these works as a departure from her earlier work but rather a development. She said, "Out of revelation, which came about through endless probing came revolution The economy of means somehow seemed necessary to secure the sensation of the expression of the existentialist in art. As art critic and photographer John Gruen explained, "There is a vibrant light that emanates from these works, not blinding or jarring or dizzying.

It is an arresting light that remains constant, lending purity - even dignity, to essentially emotional statements. In Unequivocably Blueone of a series of collages employing wood and paint, Fine continues to explore geometry, space, and form. Fine arranges wooden shapes, painted in blue and black stripes or white and black stripes, on top of each other to form intricate patterns that traffic both in actual and illusionistic depth.

These works could be said to harken back to her lessons in three-dimensional painting during her studies with Kimon Nicolaides at the Art Students League. New York Times art critic Benjamin Genocchio suggests that the works in this series stand out from her Abstract Expressionist peers because they "seem to capture a fragmentary meshing of shadows and light.

Fine said that the "color had a kind of shocking feel," especially as the light caught the edges of the wood. Like most of the Abstract Expressionists, Fine never regarded herself a landscape painter; however, when Willem de Kooning visited Fine's new studio inhe suggested that she was painting what she saw out of her windows. At the time, Fine disagreed with her friend, but it is interesting to think of the ways in which her work does intersect with nature.

In this case, the play of shadow and light and illusion and depth are at the forefront, but by the same token, nature itself - the light streaming in from her studio windows - effected how Fine thought of these works and how they worked best. Wood collage with acrylic and poster paint on plywood, mounted on hardboard - Johnson Musuem of Art, Cornell University.

A Timelessness 2painted inwas a part of Fine's Accordments series, which she began in the early s. Using vertical and horizontal lines, Fine creates a mesmerizing grid in subtle shades of yellow and white. Certainly evoking Mondrian's influence, the paintings in the Accordments series are light-filled and emanate a certain quietness.

Fine's abiding interest in nature, movement, and repetition, creates a presence of sublime awe in these works. Fine described the paintings, "Compelling, mysterious, they are yet very tranquil; they are evocations of being in tune with nature and the Universe. While Martin is perle fine biography books associated with Minimalist art trends, she felt more akin to the Abstract Expressionists in their desire to communicate something deeply human, and while Fine may have given up the rhetoric of Abstract Expressionism, like Martin, she never lost site of her profound subject matter.

One of six children, Perle Fine was born near Boston inshortly after her parents emigrated from Russia. Soon after, Hofstra University approached her with an offer; she taught there privately from to Inshe developed a severe case of mononucleosis. Around this time, she took up making wood collages, employing curvilinear forms. After several years' struggle with Alzheimer's diseaseFine died of pneumonia on May 31,at the age of 83 in East Hampton, New York.

During the s, Fine was inspired by the ideas of Hans Hofmann and the harmony and tension of combining color and shape. Fine was able to evolve using color as its own means of expression. Fine started playing with act of staining and contrasting levels of translucency along with the use of reduction and of positive and negative space.

Her works of this period bear a similarity to those of Mark Rothkoof whom she was a close friend at the time. This series of her work was known for its breadth and openness, and for the subtle layering of colors and the way the materials interacted. Her Cool series of — represented a break away from the Abstract Expressionist works of her earlier years.

Artists were stepping away from the soul-baring of action painting to let their images speak for themselves; this new approach was free from psychological self-examination, and could just involve the viewer in a direct emotional and intellectual experience. Fine's Cool series concentrated solely on the imagery of rectangles and squares placed in a juxtaposition using mostly monochromatic color pallets.

The Accordment series was the culmination of all Fine's previous styles. The series' name means "agreement" or "acceptance", and its works have a distinct connection with Minimalism.

Perle fine biography books

Fine's style is set apart by her minimalist tendencies, using colorful line work, planes of color, and distinct sweeping brushstrokes. Fine's work on this series overlapped with her tenure at Hofstra University, which lasted from to Intoward the end of this period of her career, she was honored with an exhibition at Guild Hall Museum in East Hampton which emphasized work from this series.

Fine, along with other female artists such as Fannie Hillsmith and Lee Krasnerexperienced significant constraints to their opportunities and exposure on the basis of their gender. Despite the obstruction of gatekeepers like Kootz, Fine participated in many solo and group shows during the late s. The success she had at these exhibitions gave every indication that Fine was on the verge of success in the art world.

For her part, Fine did not ascribe as much significance to the role gender played in her relative success within the Abstract Expressionist movement, instead focusing more on the integrity of her paintings themselves. She always held that the important thing was the painting rather than her being a woman; any adversity she faced only pushed her to become the artist she would be.

She battled with the canvas and solved problems in every piece. Over a career in abstract painting that lasted more than 50 years, Fine continued to innovate and refused to borrow methods from other artists that could potentially allow critics to call her work derivative. For Fine, "Abstract Expressionism had never been a form of open rebellion against earlier styles, but rather a beautiful, unexplored country.

Fine's work is in the collection of the Brooklyn Museum [ 25 ] the Solomon R. WeChatopens in a new tab. Twitteropens in a new tab. Artsyopens in a new tab. Artnetopens in a new tab. Join the mailing list.