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Fine's work embodied the characteristics of
Abstract Expressionism. She allowed her knowledge of modern European masters to help inspire her style as she explored the depths of human emotion and energy. Fine described modern and abstract art as an ability to execute when facing problems. To Fine, color was very important as a way to express emotion. Some of her works were more saturated to show emotion, contrasting with the use of muted color in other work; this shows her interest in “different spatial and emotional qualities”.
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themselves; this new approach was free from psychological self-examination, and could just involve the viewer in a direct emotional and intellectual experience. It was simply about how the viewer interacted with the color and space, creating a “visceral, spiritual experience” through these aspects alone. Fine's Cool series concentrated solely on the imagery of rectangles and squares placed in a juxtaposition using mostly monochromatic color pallets.
390:, experienced significant constraints to their opportunities and exposure on the basis of their gender. "he very image of the Abstract Expressionist painter was a white, heterosexual male... this movement, which perceived itself as a glyph of individual freedom, constricted the entry of women, African Americans, and homosexuals, regardless of the nature and quality of their work." The art world was run by individuals like
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her surrounding in
Springs. Fine once stated, “For me reality exists in the aura of the unknown. The spell-binding quality, the one that beckons and holds, the unpremeditated, the nameless, touched off perhaps by some transcendental experience but guided by a poetic and creative mind – these are the things hidden beneath the surface”.
213:. "Beginning in the mid-1950s, Fine's expressionist style began to loosen. She produced thick, heavily painted abstractions using harsh, jagged strokes with a loaded brush. Her focus was the two-dimensional plane: surface, texture and medium. Fine's palette in these often large-scale pieces was one of much more somber tones."
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woman; any adversity she faced only pushed her to become the artist she would be. She battled with the canvas and solved problems in every piece. Her determination and talent were undeniable, and, as art historian Ann Eden Gibson has said, "by the early 1950s, Fine was right in the middle of
Abstract Expressionism”.
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During the 1940s, CĂ©zanne's work had a significant effect on Fine's development as an artist. She took into consideration the way he developed an order from nature and took control of the canvas; this enabled her to form images in their own space on the canvas. As she became a more well-known artist,
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shared many similarities, one being that their art was routinely described by critics as 'atmospheric and classic'." Martin and Fine appeared together in a group show at the
Whitney Museum in 1962 entitles Geometric Abstraction in America. Fine's style is set apart by her minimalist tendencies, using
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Because Fine was able to self-isolate in the
Springs of East Hamptons, she was able to take inspiration from her natural surroundings. Although Fine was adamant that her works were solely based on the way her materials interacted, people felt that it was hard to not see the connections she made with
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For her part, Fine did not ascribe as much significance to the role gender played in her relative success within the
Abstract Expressionist movement, instead focusing more on the integrity of her paintings themselves. She always held that the important thing was the painting rather than her being a
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Despite the obstruction of gatekeepers like Kootz, Fine participated in many solo and group shows during the late 1940s. The success she had at these exhibitions gave every indication that Fine was on the verge of success in the art world. However, she never achieved the level of commercial success
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The
Accordment series was the culmination of all Fine's previous styles. The series' name means "agreement" or "acceptance", and its works have a distinct connection with Minimalism. In her article "The Tranquil Power of Perle Fine's Art", Kathleen Housley says of Fine's work of this period: “Close
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and the harmony and tension of combining color and shape. Fine was able to evolve using color as its own means of expression. Fine started playing with act of staining and contrasting levels of translucency along with the use of reduction and of positive and negative space. Her works of this period
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One of six children, Fine was born in Boston, Massachusetts, in 1905, to parents who had recently immigrated from Russia. She became interested in art at a young age. "Starting almost immediately in grammar school at the time of the First World War... I did posters and started winning little prizes
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Over a career in abstract painting that lasted more than 50 years, Fine continued to innovate and refused to borrow methods from other artists that could potentially allow critics to call her work derivative. For Fine, "Abstract
Expressionism had never been a form of open rebellion against earlier
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a yellow rectangle is pushing into the foreground while in a deep dark brown/green rectangle sits farther in the background. Her brushstrokes also tend to display a variety of emotions, from crisp and clean lines to soft and airy strokes. She uses wet on wet paint to create a look of fluidity and
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Fine's work on this series overlapped with her tenure at
Hofstra University, which lasted from 1962 to 1973. In 1978, toward the end of this period of her career, she was honored with an exhibition at Guild Hall Museum in East Hampton which emphasized work from this series. Curator David Dietcher
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The Cool series was created while Fine was living in isolation in the
Springs of East Hampton. The name came from her awareness that the word “cool” had come to mean a new type of art during the time. Artists were stepping away from the soul-baring of action painting to let their images speak for
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More recently, her work is being given renewed attention, including the 2016 exhibition Women of Abstract Expression at the Denver Art Museum; Women of Abstract Expressionism from the 9th Street Show at the Katonah Museum of Art; and Artistic License: Six Takes on the Guggenheim Collection.
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draws the paint out to the outer edges; this gives a look of sunlight shining upon grass, with most of the content appearing on the outer edge to give it an environmental atmosphere. Some may say that Fine's work was a precursor for artist like Joan Mitchell and Helen Frankenthaler.
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in Boston, where she took classes in illustration and graphic design and learned to design newspaper advertisements. She paid for her studies by working in the school's bursar's office. Subsequently, she moved to New York City to pursue training in fine art and began attending the
145:. In 1943 she received a grant from the Guggenheim Foundation and was able to participate in exhibitions at Peggy Guggenheim's Art of this Century Gallery and the Museum of Nonobjective Painting; these shows brought her significant press attention. In 1945, Fine joined
394:, a prominent gallery owner who helped determine what art (and which artists) was mainstream, who openly declared that there would be no women artists in his gallery. Nonetheless, Fine maintained that "I know I was as good as anybody else in there".
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Her Cool series of 1961–1963 represented a break away from the Abstract Expressionist works of her earlier years. She stated that the paintings were a “growth” rather than a “departure”, developing from “a need within the painting to express more.”
298:(1961, 1963, 1964, 1967) with a major shift in her style, with a reintroduction of horizontals and verticals, announced Fine's intention to convey... 'an emotion about color'." Fine began to teach in 1961, as a visiting critic and lecturer at
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The artists celebrated not only the appearance of the dealers, collectors and museum people on the 9th Street, and the consequent exposure of their work, but they celebrated the creation and the strength of a living community of significant
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enjoyed by some of her male peers. "As the 1950s dawned... there was little competition among artists either male or female, it was only when the door began to crack open that the gender of the artist began to play a more prominent role."
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I never thought of myself as a student or teacher, but as a painter. When I paint something I am very much aware of the future. If I feel something will not stand up 40 years from now, I am not interested in doing that kind of
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In 1965, she developed a severe case of mononucleosis. Around this time, she took up making wood collages, employing curvilinear forms. Fine went on to win an award at the annual Guild Hall Artist Members' Exhibition in 1978.
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has described that period, saying "the arts were gradually thought of less in terms of being part of the 'female' realm and more as an interest suitable for a hardheaded and successful businessman."
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held from May 21 – June 10, 1951. The show was located at 60 East 9th Street on the first floor and in the basement of a building which was about to be demolished. According to Bruce Altshuler:
343:, of whom she was a close friend at the time. This series of her work was known for its breadth and openness, and for the subtle layering of colors and the way the materials interacted.
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which showcased nonobjective art and theory. It was written that, even though she was a member of American Abstract Artists, her work was different in spirit than that of fellow-members
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Starting with the Ninth Street Show, Fine participated in each of the invitational New York Painting and Sculpture Annuals from 1951 to 1957. She was one of just 24 out of a total 256
108:. Fine's work was most known by its combination of fluid and brushy rendering of the materials and the use of biomorphic forms encased and intertwined with irregular geometric shapes.
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New York school : abstract expressionists : artists choice by artists : a complete documentation of the New York painting and sculpture annuals, 1951–1957 p. 11–29
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New York school : abstract expressionists : artists choice by artists : a complete documentation of the New York painting and sculpture annuals, 1951–1957, p.16; p.36
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New York school : abstract expressionists : artists choice by artists : a complete documentation of the New York painting and sculpture annuals, 1951–1957, p.129
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The 1960s marked her re-entry into a profoundly changed New York art scene, in which she encountered more galleries and new art styles. "Fine had 4 solo shows at the
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Fine ran the East River Gallery on East 57th Street from 1936 to 1938, and opened her own gallery in 1940. In 1945, she had her first solo exhibit at the
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and getting encouragement that way. So that by the time I graduated from high school I knew very well I wanted to be an artist." Fine briefly went to the
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artists who was included in all the Annuals. These Annuals were important because the participants were chosen by the artists themselves. Other
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At a 1958 exhibition, her paintings offered "abstract intimations of nature... This perception was reinforced by Fine's inclusion in
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described her Accordment series saying “bands of color produce luminosity that seems to emanate from within the grid itself”.
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Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth-Century American Art
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Abstract expressionist art movement in America video documentation project, 1991–1992./Perle Fine
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In 1950 she was admitted to the 8th Street "Artists' Club", having been nominated by
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1107:"Perle Fine | Prescience Series (1950s) by Berry Campbell Gallery – Issuu"
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Housley, Kathleen L. (2003-01-01). "The Tranquil Power of Perle Fine's Art".
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approached her with an offer; she taught there privately from 1962 to 1973.
1210:. Denver New Haven: Denver Art Museum Yale University Press. p. 174.
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Perle Fine Abstract Expressionism-Artist of the 9th Street Art Exhibition
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colorful line work, planes of color, and distinct sweeping brushstrokes.
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Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970
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1157:"Sparkling Amazons: Abstract Expressionist Women of the 9th St. Show"
734:"Biography - Perle Fine - Abstract Expressionist Art - PerleFine.Com"
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on East 57th Street. In 1946, Fine accepted an offer to work for
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with Kimon Nicolades. In the late 1930s she began to study with
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Fine was chosen by her fellow artists to participate in the
126:. It was at the Grand Central School of Art where Fine met
1182:"Artistic License: Six Takes on the Guggenheim Collection"
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The Avant-garde in Exhibition: New Art in the 20th Century
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styles, but rather a beautiful, unexplored country."
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During a show at the Nienrendorf Gallery, art critic
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During the 1950s, Fine was inspired by the ideas of
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American Abstract expressionist painter (1905–1988)
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425:. In 2023 her work was included in the exhibition
417:In 2016 her work was included in the exhibition
805:. University of California Press. p. 171.
629:Published: April 24, 2009 by Benjamin Genocchio
382:Fine, along with other female artists such as
101:(born Poule Feine)(1905–1988) was an American
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1394:10.1093/benz/9780199773787.article.b00111955
1094:10.1093/benz/9780199773787.article.b00064356
684:: CS1 maint: multiple names: authors list (
161:, director of the Museum of Modern Art, and
133:While in New York, she also studied at the
688:) CS1 maint: numeric names: authors list (
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194:In 1947, Fine was featured in an issue of
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889:Fourth Annual at the Stable Gallery, 1955
829:Second Annual at the Stable Gallery, 1953
1061:. Siris-archives.si.edu. June 10, 1951.
949:Sixth Annual at the Stable Gallery, 1957
919:Fifth Annual at the Stable Gallery, 1956
859:Third Annual at the Stable Gallery, 1954
438:Fine's work is in the collection of the
1388:, Oxford University Press, 2011-10-31,
1088:, Oxford University Press, 2011-10-31,
744:from the original on September 10, 2017
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1456:Art Students League of New York alumni
1065:from the original on February 26, 2012
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1286:The Guggenheim Museums and Foundation
1186:The Guggenheim Museums and Foundation
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365:in age and in temperament, Fine and
237:who took part in all the shows were
322:After several years' struggle with
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1481:20th-century American printmakers
1132:"Women of Abstract Expressionism"
654:Perle Fine : the cool series
474:, Lisa N. Peters analyzes Fine's
652:Fine, Perle, 1905–1988. (2011).
360:The Accordment series: 1969–1980
252:In the 1950s, Fine moved to the
1486:Burials at Green River Cemetery
1336:Smithsonian American Art Museum
1208:Women of abstract expressionism
452:Smithsonian American Art Museum
419:Women of Abstract Expressionism
141:in New York City as well as in
1466:20th-century American painters
1441:Abstract expressionist artists
1361:Whitney Museum of American Art
456:Whitney Museum of American Art
339:bear a similarity to those of
163:Emily Hall and Burton Tremaine
157:... her art was also owned by
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1461:People from Springs, New York
1386:Benezit Dictionary of Artists
1086:Benezit Dictionary of Artists
444:Solomon R. Guggenheim Museum
330:The Prescience series: 1950s
130:, whom she married in 1930.
60:1988 (aged 82–83)
1451:Painters from New York City
378:Position as a female artist
309:Fine stated the following:
124:Grand Central School of Art
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1476:American women printmakers
347:The Cool series: 1961–1963
801:Altshuler, Bruce (1994).
508:9th Street Art Exhibition
147:American Abstract Artists
28:
1446:American modern painters
1232:"Action, Gesture, Paint"
1206:Marter, Joan M. (2016).
776:"9th Street Show Poster"
1311:National Gallery of Art
448:National Gallery of Art
169:'s unfinished painting
119:School of Practical Art
1384:"Louppe, Marguerite",
979:9th Street Show Poster
625:April 2, 2015, at the
493:Abstract expressionism
260:on the eastern end of
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103:Abstract expressionist
91:Abstract expressionism
64:East Hampton, New York
1161:Katonah Museum of Art
656:. Spanierman Modern.
619:Portrait of an Artist
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171:Victory Boogie Woogie
51:Boston, Massachusetts
1236:Whitechapel Gallery
987:on February 5, 2012
957:on February 9, 2012
927:on February 9, 2012
897:on February 9, 2012
867:on February 9, 2012
837:on February 5, 2012
782:on February 5, 2012
582:Woman's Art Journal
433:Whitechapel Gallery
324:Alzheimer's disease
189:Edward Alden Jewell
155:Frank Crowninshield
135:Art Students League
1257:"Wide to the Wind"
304:Hofstra University
300:Cornell University
278:Conrad Marca-Relli
196:The New Iconograph
151:Frank Lloyd Wright
1136:Denver Art Museum
738:www.perlefine.com
663:978-1-935617-13-6
423:Denver Art Museum
421:organized by the
274:Willem de Kooning
239:Elaine de Kooning
218:Ninth Street Show
211:Willem de Kooning
204:Robert Motherwell
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112:Biography
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