Robert Moskowitz

Robert Moskowitz (born 1935 in Brooklyn, New York) is a contemporary American painter who was influenced by, among further movements, Abstract Expressionism, and gained wave in the 1960s onward for his paintings, drawings and prints that decree in the intersection amid Abstract Expressionism, Minimalism and Pop Art.

He was influenced in his ahead of time career by such artists as Jasper Johns and Robert Rauschenberg.

Although his exploit has been described as a "significant join between the Abstract Expressionism of the New York School and the 'New Image Abstraction' painters of the mid-1970s", Moskowitz has acknowledged relatively Tiny public attention and never achieved the level of fame that many of his peers have.

In 1948, Robert Moskowitz, son of Louis and Lily Moskowitz, was left to care for their youngest daughter, Karen, after his daddy left the associates and his mom was irritated to make occasional trips to Florida for work. He showed little artistic capability as a child, but enrolled after teacher at the Mechanics Institute of Manhattan to pursue engineering drafting. In 1956, he began studying at the Pratt Institute in Brooklyn where he studied below Adolph Gottlieb.

Moskowitz traveled to Europe in 1959, where he met the British collage and assemblage player Gwyther Irwin. At Irwin's suggestion, Moskowitz moved into an artist's community outdoor London where he was adept to purchase his first studio tone for $85.00, which allowed him to remain in London for one year.

Moskowitz's first earsplitting body of paintings came from the discovery of a window shade hanging tall in his studio space. Following lessons taken from Johns, Rauschenberg, and Marcel Duchamp, Moskowitz began to place intact objects, such as the window shade, directly upon his paintings as a form of collage. This produce a result was included in the exhibition Art of Assemblage organized in 1961 at the Museum of Modern Art which as a consequence included the play a role of Picasso, Georges Braque, Joseph Cornell and Robert Rauschenberg in the course of many other influential artists. His take effect of this period, primarily untitled collage paintings, culminated in a solo exhibition at the Leo Castelli Gallery in 1962, in between solo exhibitions of Roy Lichtenstein and Frank Stella.