DICK JEMISON
This Is Origanal Abstract Expressionist work by one of Americas premier painters. This mixed media piece is on canvas with texture from Sand 82 x 96.
Dick Jemison recounts his first encounter with Abstract Expressionist Paintings. On a school holiday in the late 1950's, at the time when "action painting" as it was also called was first bursting on the scene, Jemison visited the Museum of Modern Art in New York. He still remembers walking up a stairway and confronting a huge, freely spattered, color-saturated canvas by Sam Francis. It was then that Jemison decided to become an artist.
The Abstract-Expressionist aesthetic, which challenged and excited the young artist was being shaped at the time by the major painters of the New York school: Willem De Kooning, Mark Rothko and Jackson Pollock. Jemison came to understand that in these paintings the picture plane was conceived as a flat canvas wall. The canvas became an "arena", a "field of action", where smudged or dripping paint floated; where the intuitive or spontaneous gesture of the paint-loaded brush interacted with all the other surface marks. Picasso, a generation earlier, had been the root of all this muscular painting.
The New York school rejected representation and illusionism. What excited these artists was the possibility of unpremeditated gesture and intuitive placement of shape painted with the maximum of intensity and psychological tension.
Dick Jemison recounts his first encounter with Abstract Expressionist Paintings. On a school holiday in the late 1950's, at the time when "action painting" as it was also called was first bursting on the scene, Jemison visited the Museum of Modern Art in New York. He still remembers walking up a stairway and confronting a huge, freely spattered, color-saturated canvas by Sam Francis. It was then that Jemison decided to become an artist.
The Abstract-Expressionist aesthetic, which challenged and excited the young artist was being shaped at the time by the major painters of the New York school: Willem De Kooning, Mark Rothko and Jackson Pollock. Jemison came to understand that in these paintings the picture plane was conceived as a flat canvas wall. The canvas became an "arena", a "field of action", where smudged or dripping paint floated; where the intuitive or spontaneous gesture of the paint-loaded brush interacted with all the other surface marks. Picasso, a generation earlier, had been the root of all this muscular painting.
The New York school rejected representation and illusionism. What excited these artists was the possibility of unpremeditated gesture and intuitive placement of shape painted with the maximum of intensity and psychological tension.
