Ronald " Ron " Davis (born 1937), is an American painter whose work is related to Geometric abstraction, Abstract Illusionism, Lyrical Abstraction, Hard - painting holders, canvas shaped paintings, color field paintings, and 3d computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.
Video Ronald Davis
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Born in Santa Monica, California, he grew up in Cheyenne, Wyoming. In 1955-56 he attended the University of Wyoming. In 1959 at the age of 22 became interested in painting. In 1960-64 he attended the San Francisco Art Institute. Abstract Expressionism, the artistic movement that prevailed at that time, will have an influence on many of its future works. In 1962 he became a recipient of the Yale-Norfolk School Summer scholarship. In 1963 his painting became hard, geometrical and optical in style, and in 1964 his work was featured in important museums and galleries. He lived and worked in Los Angeles, 1965-1971; and in Malibu, CA, 1972-1990. Since 1991 he has lived and worked in Arroyo Hondo, New Mexico on the outskirts of Taos, New Mexico.
Maps Ronald Davis
Careers
Ronald Davis from the early days of his career had a significant impact on contemporary abstract paintings of the mid-1960s. According to art critic Michael Fried: "Ron Davis is a young Californian artist whose new painting, recently featured at the Tibor de Nagy Gallery in New York, is one of the most significant produced anywhere in the last few years, and puts it, along with Stella and Bannard, at the forefront of his generation. "He held his first one-man exhibition at the Nicholas Wilder Gallery in Los Angeles in 1965.
Barbara Rose wrote an in-depth essay about Ronald Davis's 1960s painting in a catalog that accompanied the 1989 Dodecagon Series exhibition in Los Angeles. Among other observations he wrote: "Davis looks at ways to use Duchamp perspective studies and transparent planes in The Large Glass for illustrative purposes." Instead of glass, he uses fiberglass to create the same surface transparent and regardless of the illusion of reality, because the color pigment is mixed into the liquid resin and hardened rapidly, multiple layers of color can be applied without becoming muddy, essentially an inverse layering of Old Master and glass except the colors applied on the back rather than above the surface. among his contemporaries, Ronald Davis is equally concerned with the traditional problems of painting: space, scale, detail, color relationships and illusions as he with California's emphasis on hi-tech crafts and industrial materials to reconcile the literal objects that produced with the latest technology with transcendental metaphor becoming a problem occupied throughout the sixties han. "
In a letter to Tate Gallery, who had acquired the Vector paintings in 1968, Davis described the technique he began to use in 1966:
Fiberglass fabrics and mats replace canvas as reinforcement and support for colored resin (paint). They were painted with a brush facing down on a candlelit Formica mold. The illusion plane closest to the audience is covered with masking tape and the first painted, the farthest painted last. The fiberglass coating is impregnated with laminated resin to the back of the painting... The finished painting is peeled from a waxy and polished mold.
In Artforum article 1970 artist/art critic Walter Darby Bannard commented: "Although Davis is haunted by" series "ideas, and has not gained a hold on the monumentality inherent in his style, he is young and inspired , and these things will evolve naturally. "From 1966 to 1972, Ron Davis created an illusionistic geometric painting using polyester and fiberglass resins. About Davis's painting in the late 1960s in an essay accompanying the retrospective retrospective of Ronald Davis's Forty Years of Abstraction at the Butler Institute of American Art in 2002, the abstract painter Ronnie Landfield wrote: "the Dodecagons from 1968-69 remains one of the most intriguing, bold, and intellectually interesting works made by an abstract painter in the last half of the twentieth century. "
In 1966 Davis was an instructor at the University of California, Irvine. Also in that year he held his first one-man exhibition at Tibor de Nagy Gallery in New York City and a solo exhibition at Leo Castelli Gallery in 1968.
His works are held in the Museum of Modern Art collections in New York City, Tate Gallery, London, the Los Angeles County Museum of Art and the Chicago Art Institute and he has been awarded the National Abadi Fund for Arts. Since the 1990s, he has worked in digital painting and digital art.
See also
- Digital painting
- Digital Art
Note
References
- Barbara Rose. American Painting. Part Two: The 20th Century . Published by Skira - Rizzoli, New York, 1969, pp.Ã, 230, 234. Color Plate: Disk , 1968
- Barbara Rose. "Abstract Illusionism." Artforum , October 1967
- Robert Hughes. "Ron Davis at Kasmin." Studio International , December 1968, vol. 176, no.906, pp 264-265.
- John Elderfield. "New Painting by Ron Davis." Artforum , vol. 9, no. March 7, 1971, pp. 32-34.
- Paul Goldberger. "Studied Slapdash." The New York Times Magazine , January 18, 1976, pp.Ã, 48-50. Photos and articles at Ron Davis' Studio
- Hilton Kramer. "The Return of Illusion." The New York Times, Arts and Leisure . Sunday, May 28, 1978, p.Ã, 25
Further reading
- Nancy Marmer, "Ron Davis: Beyond Flatness," Artforum, November 1976, pp.Ã, 34-37.
External links
- http://www.irondavis.com/
- http://www.abstract-art.com/
- Ronald Davis at Kenneth Tyler Collection Australia's National Gallery
- complete the text of Michael Fried
- complete the Darby Bannard text
- Ronald Davis Print Retrospective
Source of the article : Wikipedia
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