Waller-Yoblonsky Fine Art

Much can be said about Rosenblum's painting style, however his own words say it best when he wrote: The vertical forms in my work serve as a vehicle for color and also become a dramatic means of achieving movement and deep space. This becomes possible through great variation in the stripe thickness, and the sudden emergence or disappearance of a particular band of color when it overlaps another. Rosenblum used color to be bold and startling, and juxtapositioned some colors next to each other to create vibration. These diagonal and triangle wedges causes the eye to wonder why; are they based on a system or happen-chance. His work must be compared to Gene Davis from the Washington Color School and Bridget Riley, an English artist that moves the line around and around. Davis almost always stuck to vertical straight stripes with varying widths of color. Likewise, Rosenblum does a variation of Davis creating tilted lines, that sometime become long narrow triangles. They both use

Clement Greenberg, the art critic at the New York Times, introduced the world to the “Washington Color School”. The Washington Color School was a combination of color field abstraction, and hard-line abstraction painters. A couple of these artists started a new tradition of putting paint directly on unprimed canvases, that created stained looking canvases. Alice Mostoff lived most of her life within minutes of Washington, DC, and was not listed as part of the Color School, however numerous artists were influenced by the emerging styles that came from the School. She was not included in the school partly because Mostoff arrived to late to be part of that art movement. A retrospective review of Mostoff’s work has similarities to noted Washington artists such as Willem de Looper, American University instructor Robert Franklin Gates, and National Gallery print expert Jacob Kainen. These three men were also outliers of the Washington Color School, but they sat on the edge of this com