detail from painting by Alyssa di Edwardo
Keith Tyson (b.1969) was the 2002 Turner Prize winner for his series of works entitled Nature Paintings.
“Despite the increasing uproar around that year’s selection, Tyson was praised by the judging panel for his work’s ‘strong visual energy’ across a diverse range of media that included drawing, painting, sculpture and installation.” (ArtUK.org)
I’ve found one more in this series on his instagram page https://www.instagram.com/keithtyson23/
Alyssa di Edwardo (b. 1957) is an Abstract Expressionist painter whose work I find more interesting and prefer. Reminding me of Joan Mitchell, see my post: https://jillgoodman.co.uk/joan-mitchell
From Edwardo’s website: “Gestural brushstrokes pull the viewer towards a psychological landscape perhaps making the work relatable in the realm of metaphor. She says of the work, “I only see my role as a painter as an instrument and guardian to be ruthless and resolute in what is true in that moment and to have no opposition.” By embracing process, the paintings reveal their own physicality and active momentum. ” More paintings on http://www.alyssadiedwardo.com/gallery.asp
Cy Twombly’s Quattro Stagioni is a cycle of four paintings representing the four seasons.
Twombly’s representations of the four seasons are typical to his production of the late 1980s and 1990s in which light has become a principal theme. His prominent use of white echoes that of French Impressionists such as Claude Monet (1840-1926) for whom it was an important ingredient in the depiction of light. (Tate: https://www.tate.org.uk/art/artworks/twombly-quattro-stagioni-autunno-t07889 )
John Hoyland: Story from Nature 1996 (Tate text: https://www.tate.org.uk/art/artworks/hoyland-story-from-nature-12-9-96-t15066 )
Paintings are there to be experienced, they are events. They are also to be meditated on and to be enjoyed by the senses; to be felt through the eye.
The way that they are perceived, as with nature, will be conditioned by the individual onlooker’s feelings, background and temperament. Paintings are not intellectual, they don’t describe events, don’t tell a story, they are not concerned with history, literature, science, theatre, mathematics, or movement; they are still.
One discovers a painting as one might discover a forest with snow falling, and then suddenly, unexpectedly, come upon an open glade with sunlight penetrating the falling snow, simultaneously.
Paintings are not to be reasoned with, they are not to be understood, they are to be recognized. The y are an equivalent to nature, not an illustration of it; their test is in the depth of the artist’s imagination. (http://www.johnhoyland.com/about/quotes-from-a-life/)