188:(1911–1960) was arguably the most important painter of the Bay Area Figurative Movement. Park was an Abstract Expressionist painter, based in San Francisco, and one of the first to move towards the figurative style of painting. In the spring of 1951, Park won a prize for a figurative canvas that he submitted to a competitive exhibition. Park's turn to figurative style baffled some of his colleagues, as at the time, abstract painting was the only way to go for progressive artists. His move prompted a rise in figurative art which became one of the most important postwar developments on the West Coast.
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507:(1919–1990) painted mostly in oil. Her work was noted for its strong colors and shapes. Berk developed her own unique approach to art with daring use of color and unique interpretation of shape and light. Her work is remarkable considering the challenging times for female artists in the 1960s and the glass ceiling she fought so hard to break. Berk attended the
380:(1920–2008) both felt strongly influenced by the more established artists' work. In 1955, both Brown and Wonner rented studio spaces within the same building which was also the building where Diebenkorn worked. Diebenkorn, Bischoff and Park joined Brown and Wonner to hold life-drawing sessions. They were occasionally joined by James Weeks and Nathan Oliviera.
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mouthings". After returning from war in 1945, he felt impelled to challenge all the assumptions that he held about art as well as life. When asked about this in an interview, he said, “Until then art had been an external acquisition; became more of a quest.” It was around this time that he was hired
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created colorful, expansive paintings depicting her life and experiences in San
Francisco, where she lived and worked in for nearly all her life. Her time as a figurative artist was intense and productive and provided some of the most important works of the Movement. Brown earned a BFA and MFA from
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Rather than going through a slow transformation from abstract paintings to figures, it is believed that Park's abstractions disappeared instantly. An interview with Park's aunt suggested that Park drove his abstract paintings to a dump and released or ritually destroyed them. His colleagues did not
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was a sculptor. Neri explored abstraction during the early stages of his career, like all the younger Bay Area
Figurative artists. It was only after he left school in 1959 that he took up figuration. It allowed him to synthesize his interests in color and form and to play with the ambiguities of
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and won the $ 200 first prize for it. This feat earned him a solo show at the Paul Kantor
Gallery in Los Angeles. However, it was a one-person show of paintings and drawings in January 1956 at the California School of Fine Arts gallery that Bischoff believed had the biggest impact on his future.
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Neri, only two years younger than Nathan
Oliveira, had a similar childhood and like Oliveira had no interest in art as a kid. The only reason Neri took a course in ceramics in school was to lighten his load. His ceramics teacher was Roy Walker who encouraged him to pursue art further by taking
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Figuration was not a furtive process for McGaw. Like other second-generation artists, he was not confined to any particular style and moved from one style to the other. One of McGaw's first mature figurative paintings clearly showed influences from
Diebenkorn but McGaw also showed a lot of new
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The New York School of
Abstract Expressionism was the first American style of art to have international importance. The San Francisco Bay Area was the center for an independent variant of Abstract Expressionism. The Bay Area Figurative movement was in response to both.
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Wonner's figurative works were displayed in an exhibition held at the
California School of Fine Arts gallery late in 1956. From the very beginning Wonner was committed to conventions of representation, and identified line as a firm descriptive boundary and edge.
290:'s exhibition "Younger American Painters", resulted in his work was extensively shown by dealers in Los Angeles and Chicago. Along with his national reputation for his abstract work, Diebenkorn was also a beloved abstractionist among the locals in Sausalito.
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In 2004, Hackett
Freedman Gallery in San Francisco held an exhibition of 35 of David Park's works from 1953 to 1960. These were the works that marked the final years of his life and the exhibition was held to celebrate his life as well as his return to
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After that he focused on figurative art but it was not until 1956 that he attempted complex figurative paintings. His earliest figurative works seemed to loosely be based on self-portraits. He returned to abstraction in the mid-1960s.
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and took one of the first classes taught by
Diebenkorn in 1955. McGaw had a close relationship with Diebenkorn, who even met with McGaw's parents to show them his support for their son's works. McGaw also studied with
604:, and began gaining recognition for her paintings. In 1960, she was the youngest artist exhibited as part of Young America 1960 (Thirty American Painters Under Thirty-Six) at the Whitney Museum of American Art.
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content. It is the non-specificity of his figures and their abstract qualities that make his sculptures part of the Bay Area
Figurative Movement and not just any contemporary figurative sculpture in America.
427:. He lives in the Bay Area and continues to paint actively. Petersen's work has been exhibited in museums and galleries around the country, and is represented in major museum collections, including the
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FitzSimons, Casey. "'Transformation: The Art Of Joan Brown' At The Berkeley Art Museum And The Oakland Museum Of California." Artweek 29.12 (1998): 12-13. Art Full Text (H.W. Wilson). Web. 5 May 2016.
71:, and worked in that manner, until several of them abandoned non-objective painting in favor of working with the figure. Among these First Generation Bay Area Figurative School artists were
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Bruce McGaw was born in 1935 and was the only artist from the second generation to be included in the 1957 Contemporary Bay Area Figurative Painting exhibition. He studied at
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turned towards an ebullient chromaticism, but his carving approach to paint handling could be seen in his work throughout until finally he decided to give up oils in 1959.
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June 13, 2020, in conjunction with a book on the artist, "In Living Color, The Art & Life of Henrietta Berk", edited by Cindy Johnson and published by Cool Titles.
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Spanning two decades, this art movement is often broken down into three groups, or generations: the First Generation, the Bridge Generation, and the Second Generation.
419:, and geometric compositions. An active figure in the Bay Area art scene for over forty years, Petersen has taught generations of artists not only painting but also
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Van Proyen, Mark. "David Park at Hackett-Freedman." Art In America 92, no. 4 (April 2004): 140–141. Art Full Text (H.W. Wilson), EBSCOhost (accessed May 13, 2016).
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Many "Second Generation" artists of this movement studied under the First Generation artists, or were late starters. Among these Second Generation artists were
466:, he decided to become a portrait painter. He later went on to serve in the army where he managed to keep up with his art scene. He did not consider himself
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in 1950, which was instrumental in starting the movement. Some of the earlier works in the exhibition suggest that Park responded to the art of
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features of his own. He liked working on a very small scale and broke the body into standard torso views or odd, synecdochal parts.
286:(1922–1993) who took the biggest risk by turning to figuration in 1955. Diebenkorn was nationally recognized for his abstract work.
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Chadwick, Witney (1984). “Narrative Imagism and the Figurative Tradition in Northern California Painting”. Art Journal 45(4), 309.
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the California School of Fine Arts (which became the San Francisco Art Institute). It was there that she met a key mentor, artist
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Just like his abstract work, Bischoff achieved great success with his early figurative works. Bischoff entered his painting
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Many Bay Area schools and institutions were important to the development and refinement of this art movement, including the
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Livingston, Jane, John Elderfield (1997). The Art of Richard Diebenkorn. New York: Whitney Museum of American Art, 1997.
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Susan Landauer; Elmer Bischoff; Oakland Museum; Orange County Museum of Art (Calif.), Norton Museum of Art (2001).
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Susan Landauer; Elmer Bischoff; Oakland Museum; Orange County Museum of Art (Calif.), Norton Museum of Art (2001).
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advanced classes. Neri soon dropped his engineering classes and in 1951 started taking courses at the
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45:, and similar variations) was a mid-20th-century art movement made up of a group of artists in the
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Landauer, Susan (2001). Elmer Bischoff: The Ethics of Paint. Berkeley: University of California.
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embarked on his Picnic series, with their saturated colors, thick layered
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Art in the San Francisco Bay Area, 1945-1980: An Illustrated History
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even know about this transformation until the following year.
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in the Fifth Annual Oil and Sculpture Exhibition at the
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as a short-term replacement at the school of fine arts.
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in painting during the 1950s and onward into the 1960s.
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and Harry Krell. Some of Berk's most noted works are
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ART REVIEW: Figurative ‘50s Work Whose Time Has Come
1178:, San Jose, CA: Kemper Museum of Contemporary Art,
703:"Frank Lobdell, influential Bay Area painter, dies"
840:Richard Diebenkorn: The Berkeley Years, 1953-1966
49:who abandoned working in the prevailing style of
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1154:, Berkeley, CA: University of California Press,
282:Out of all the First Generation artists, it was
961:. University of California Press. p. 261.
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913:Stanford News Service (January/February, 2011)
798:. University of California Press. p. 188.
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771:. University of California Press. p. 7.
204:and his influence is particularly visible in
106:The "Bridge Generation" included the artists
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613:Noel at the Table with a Large Bowl of Fruit
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890:"Paul Wonner - Artists - Berggruen Gallery"
865:"Richard Diebenkorn 14 March — 7 June 2015"
336:. Unsourced material may be challenged and
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1164:Knight, Christopher (December 15, 1989). “
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515:from 1955 to 1959, where she studied with
1231:"The Lighter Side of Bay Area Figuration"
356:Learn how and when to remove this message
215:Some of David Park's important works are
635:, where he officially enrolled in 1952.
1176:The Lighter Side of Bay Area Figuration
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843:. Yale University Press. pp. 15–.
262:Some of Bischoff's important works are
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1143:Gomez, Edward M. (February 5, 1990). “
1138:Who Was Who in American Art: 1564-1975
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728:David Park, Painter: Nothing Held Back
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609:Woman and Dog in Room with Chinese Rug
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633:California College of Arts and Crafts
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509:California College of Arts and Crafts
484:Some of Nathan's important works are
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395:(1960), while Wonner's works include
369:Theophilus Brown and Paul John Wonner
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166:California College of Arts and Crafts
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584:, where he worked with abstraction.
334:adding citations to reliable sources
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934:The Henrietta Berk Research Project
795:Elmer Bischoff: The Ethics of Paint
768:Elmer Bischoff: The Ethics of Paint
638:Some of Neri's important works are
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1152:Bay Area Figurative Art: 1950-1965
701:Hamlin, Jesse (19 December 2013).
678:Bay Area Figurative Art, 1950-1965
554:exhibit of her work opened at The
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445:Fine Arts Museums of San Francisco
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170:University of California, Berkeley
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1251:American Figurative Expressionism
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1010:Conversations with Elmer Bischoff
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1145:The San Francisco Rebellion
915:"Obituary: Nathan Oliveira"
676:Jones, Caroline A. (1990).
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162:San Francisco Art Institute
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824:www.georgeadamsgallery.com
449:Philadelphia Museum of Art
387:Some of Brown's works are
264:Figure at window with Boat
35:Bay Area Figurative School
18:Bay Area Figurative School
566:Second generation artists
397:Side of the house, Malibu
298:Bridge generation artists
955:Thomas Albright (1985).
936:. Steven Stern Fine Arts
640:Untitled Standing Figure
176:First generation artists
53:in favor of a return to
1256:Artists from California
39:Bay Area Figurative Art
1266:Abstract expressionism
1261:American art movements
1235:San Jose Museum of Art
1096:"Manuel Neri - artnet"
644:College Painting No. 1
69:Abstract Expressionism
51:Abstract Expressionism
47:San Francisco Bay Area
1168:”. Los Angeles Times.
1071:"Joan Brown - artnet"
869:Royal Academy of Arts
494:Adolescent by the Bed
288:James Johnson Sweeney
27:American art movement
1007:E. Bischoff (1991).
726:Helen Park Bigelow,
443:, Washington, D.C.;
429:Museum of Modern Art
401:Mountain Near Tucson
330:improve this section
486:Seated Man with Dog
475:Seated Man with Dog
256:Richmond Art Center
252:Figure and Red Wall
43:Bay Area Figuration
33:(also known as the
1227:, August 29, 1990.
1224:The New York Times
1221:by Roberta Smith,
560:Chapman University
545:Lagoon Valley Road
517:Richard Diebenkorn
284:Richard Diebenkorn
278:Richard Diebenkorn
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894:www.berggruen.com
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261:
251:
249:
244:Picassoesque
238:
228:
227:(1959), and
224:
220:
219:(1954–55),
216:
214:
205:
202:Max Beckmann
194:
190:
184:
159:
136:
105:
66:
63:
59:
42:
38:
34:
30:
29:
1105:11 December
1080:11 December
899:11 December
750:11 December
712:11 December
646:(1958–59).
624:Manuel Neri
619:Manuel Neri
611:(1975) and
582:Leon Goldin
571:Bruce McGaw
529:Golden Gate
490:Man Walking
479:San Leandro
468:avant-garde
425:photography
421:printmaking
399:(1965) and
391:(1960) and
151:Manuel Neri
139:Bruce McGaw
120:Paul Wonner
101:James Weeks
81:Rex Ashlock
1245:Categories
1204:0520212584
1194:0520230426
1047:2023-01-29
687:0520068416
663:References
597:Joan Brown
592:Joan Brown
268:Playground
186:David Park
181:David Park
168:, and the
147:Joan Brown
73:David Park
55:figuration
874:25 August
317:does not
272:The River
1147:”. Time.
992:31 March
940:31 March
650:See also
615:(1963).
547:(1968).
539:(1964),
535:(1962),
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346:May 2016
274:(1953).
266:(1964),
231:(1960).
223:(1939),
206:The Band
1174:(2000)
1118:Sources
930:"About"
513:Oakland
417:pigment
338:removed
323:sources
210:palette
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1042:SFMOMA
1017:
987:askART
965:
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745:SFMOMA
730:(2015)
707:SFGate
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537:Racing
525:Picnic
447:; and
153:, and
130:, and
99:, and
225:Torso
1200:ISBN
1190:ISBN
1180:ISBN
1156:ISBN
1125:ISBN
1107:2018
1082:2018
1015:ISBN
994:2018
963:ISBN
942:2018
901:2018
876:2017
845:ISBN
800:ISBN
773:ISBN
752:2018
714:2018
682:ISBN
423:and
321:any
319:cite
558:at
511:in
332:by
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