Category: Abstract Art
Alfred Alexander Gockel was born in the North Rhine city of Ludinhausen, Germany in 1952. From his earliest days, he was fascinated by the magic of colors on paper. This talent and enthusiasm resulted in the release of his first work of art by a German publisher at the age of 8.
In 1973 he began his studies in the field of design, with an emphasis on typography, graphic design and advertising. After graduating with honors at the Polytechnic Institute in Munster, Germany in 1977, Alex Gockel went on to lecture at the Institute about typography and graphic design.
After making a firm decision in 1980 to dedicate all of his time to painting, Gockel honed in on his skills and developed his identifiable, signature style known today. His work ranges from unique types of etching to serigraphy. In 1983 he established the art publishing firm of Avant Art, and since that time has taken part in important international art exhibitions.
Since 1987 the porcelain, carpet and sportswear industries have made use of his design work. The conversion of a mill purchased in 1988 and used as a centre of graphic printing (screen print etching) has expanded his artistic scope. As a result of international recognition, distribution points and studios were established in London and Connecticut in 1990.
With expressive use of rich, primary colors, Gockel has created and exceptional style that is undeniably unique. His fluid strokes on large white canvas backgrounds, done in the manner of “action painting” have a tremendous universal appeal. It is no wonder that over the last decade, well over 2 million examples of his imagery in various media have been sold in the U.S. art market alone. This incredible exposure has created a demand for this artist’s original works, spawning high profile collectors such as Michael Jordon, who now owns several Gockel paintings.
He currently resides in his native Germany, and in his spare time enjoys playing tennis, and riding his Harley-Davidson through the German countryside.
German artist Alfred Gockel has a unique abstract style featuring rich, bold colors, long, fluid brushstrokes, and intense movement. Gockel sold his first artwork to a German publisher when he was 8 years old, later studying typography, graphic design and advertising.
He became a full-time painter 22 years ago, creating daring, energetic works in his trademark style. His creative range spans etching to serigraphy, and his images have been used by the porcelain, carpet and sportswear industries.
This high-quality art print is expertly produced to capture the vivid color and exceptional detail of the original.
American Abstract Expressionist painter Jackson Pollock has long been recognized as a leading figure of this so-called “New York” school of painting. His fame skyrocketed after his death at age forty-four in a car crash on eastern Long Island. That gruesome death gave the Abstract Expressionist movement unprecedented public recognition, and conclusively transformed Pollock the man into Pollock the myth. But in doing so, it also obscured his specific achievements (and limitations) as a painter and thinker.
What link remains between the achievements of the early 20th century masters and the solutions proposed by those painters who have come of age (artistically speaking) and produced their maturest work since 1945? What is the relationship, for example, between Cubism and Action Painting? Or between Fauvism and French Abstract Impressionism? The words of Matisse quoted above point to the nature of this relationship, while the common denominator of all the investigations and experiments of 20th century art may be defined in the words of Mondrian.
“All modern art is distinguished by a relatively greater freedom from the oppression of the subject. Impressionism emphasized the impression of reality more than its representation. After the impressionists, all art shows a relative negation of nature’s aspects; the cubists delivered a further blow; the surrealists transformed it; the abstract artists excluded it.”
Freedom of expression, then, with respect to the subject, this is the commondenominator of art in our time, in our century. But this does not mean that the artist has ceased to express the shifting yet permanent sum of features and factors that go to make up the human situation in all its complexity. The fallacy of superficial detractors of non-figurative art is to suppose that it signifies a more or less complete abandonment of reality; on the contrary, it probes into reality more deeply than ever before.
This is as it should be. The artist cannot divorce himself from a state of society which, on the one hand, is profoundly disturbed by doubts and anxieties, but which, on the other, has achieved a great deal in the way of technical advances and social betterment. Why should painting reject new conceptions of time, space, matter and energy (and the new sensibility perforce bound up with those conceptions) when the other forms of artistic expression accept them?
Already in Proust we read of the painter Elstir, that his “effort to exhibit things, not as he knew them to be, but in accordance with those optical illusions of which our first glimpse of a thing is compounded, had led him to emphasize certain laws of perspective, thus rendered peculiarly striking, for his art was the first to disclose them.” And what is “le temps retrouvé” of the final volume of Proust’s masterwork, but a new dimension of the mind, a new sensibility, transcending the measurable, chronological lapse of years, days and hours? It is not for nothing that we find Proust writing in 1919 of “the great, the admirable Picasso.”
Mary Whiton Calkins, whom is best known for two things: becoming the first woman president of the American Psychological Association and being denied her doctorate from Harvard. However, these two aspects only make up a small portion of what she accomplished in her life. Her entire life was dedicated to her work, especially the development of her “psychology of selves.”
She founded an early psychology laboratory and invented the paired-associate technique. She passionately delved into the new field of Psychology but also was highly active in the field of Philosophy. She was not deterred by being a woman and used her struggles to gain a voice to speak out against women’s oppression.
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