![]() Stella’s most recent painting development, his three-dimensional metal pieces (fig. Stella essentially examines a struggle between pictorial and actual space, both of which are vying for the viewer’s attention. In other words, Stella’s interest is how the image (a mural or altarpiece) controls or is controlled by its mode of containment (architecture). 2) permits overlap (and thus space), but the dominant theme of these paintings relates to medieval and early Renaissance painting: the relation of a spatial inner image to a frontal outer structure. ![]() The idea was not to develop a pictorial structure, but to cancel it out in favor of the physicality of the painting as object. Such a method, analogous to architectural construction, might be likened to the laying of bricks. 1) are composed of repeating units, painted bands, which he perfected later in his metallic series. Several paintings also make an appearance, and the coexistence of both bodies of work serves as a reminder that Stella’s paintings have always been more or less architectonic. 4) are on view at the Met show, including an enormous fragmentary mock-up for part of a building. Many of Stella’s architectural proposals (fig. Architectural model, on view now at the Met. Has Stella been contradicting himself the whole time, talking one way and working another? Perhaps one of the shows at the Met, Frank Stella: Painting Into Architecture, best reveals a way of seeing Stella’s presumably divergent ideas about space as complimentary. Stella’s three recent shows in New York, one at Paul Kasmin in Chelsea and two at the Metropolitan Museum of Art, reveal that his sculptural mode of thinking has only expanded over the years. Stella the theoretician seems entirely in favor of illusionistic space while Stella the artist seems in favor of actual, breathable space. While lecturing extensively about the pictorial genius of Caravaggio, Manet and Picasso, he was making three-dimensional wall relief sculptures in painted aluminum. Stella’s relationship with space is complex and unclear he advocates the use of inventive pictorial space within the painted image, yet has hardly dealt with it himself.įrank Stella, fig. The limitations modern painting set for itself, at once cutting itself off from its potent past and viable future, led Frank Stella, in his lecture series Working Space, to rally for the essential nature of illusionistic space and its necessity for the ensured vitality of painting. ![]() Modernist painting has put serious restrictions on the illusion of pictorial space that had been growing so rich for more than 400 years. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
January 2023
Categories |