Neil Williams PRICE CHARTS
1934 Bluff, Utah - 1988 New York, New York. Known for: Geometric abstraction, shaped canvas.
The following biography was submitted by Kim Esteve, February 2005. In "Art In America" (May 1988), Ed Leffingwell wrote that Williams' late work 'corresponds to dominant concerns in the later... Read full biography
The following biography was submitted by Kim Esteve, February 2005. In "Art In America" (May 1988), Ed Leffingwell wrote that Williams' late work 'corresponds to dominant concerns in the later history of Brasilian Modernism. That correspondence is not so readily apparent in the paintings... Read full biography
The following biography was submitted by Kim Esteve, February 2005. In "Art In America" (May 1988), Ed Leffingwell wrote that Williams' late work 'corresponds to dominant concerns in the later history of Brasilian Modernism. That correspondence is not so readily apparent in the paintings themselves. The earlier hard-edged abstractions of his output of the 60s included in the Lawrence Alloway exhibitions "The Shaped Canvas" (1964) and "Systemic Paintings", (1966) at the Guggenheim Museum N.Y.,... Read full biography
The following biography was submitted by Kim Esteve, February 2005. In "Art In America" (May 1988), Ed Leffingwell wrote that Williams' late work 'corresponds to dominant concerns in the later history of Brasilian Modernism. That correspondence is not so readily apparent in the paintings themselves. The earlier hard-edged abstractions of his output of the 60s included in the Lawrence Alloway exhibitions "The Shaped Canvas" (1964) and "Systemic Paintings", (1966) at the Guggenheim Museum N.Y., bear a certain formal relationship to the Concrete and Neo Concrete of Brazilian Artists.'. Williams had developed a technique of painting as a collage in the 70s, applying dried skins of paint directly to the support, while retaining the structural... Read full biography
The following biography was submitted by Kim Esteve, February 2005. In "Art In America" (May 1988), Ed Leffingwell wrote that Williams' late work 'corresponds to dominant concerns in the later history of Brasilian Modernism. That correspondence is not so readily apparent in the paintings themselves. The earlier hard-edged abstractions of his output of the 60s included in the Lawrence Alloway exhibitions "The Shaped Canvas" (1964) and "Systemic Paintings", (1966) at the Guggenheim Museum N.Y., bear a certain formal relationship to the Concrete and Neo Concrete of Brazilian Artists.'. Williams had developed a technique of painting as a collage in the 70s, applying dried skins of paint directly to the support, while retaining the structural device of the shaped canvas. He manufactured these skins independently from the paintings themselves, on sheets of glass. ... Read full biography
Neil Williams - Charts
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