File:Richard Loving Water Connections 1982.jpg

Painting by Richard Loving, Water Connections (oil on canvas, 42" x 84", 1982). The painting illustrates a mature stage and body of work in Richard Loving's career: his 1980s paintings as a member of the "Allusive Abstractionists," a self-named group of Chicago artists that employed a form of organic abstraction embracing real-world reference, evocative imagery, metaphor, and contemporary stylistic problems. Loving's during this period became more complex, combining bright patterns, obsessive markmaking, and new diagrammatic shapes and symbols that alluded to sexuality (lips, flowers, fountains, seeds, fireworks) and elemental or microcosmic life (flames, molecules, water, crystals). This work and similar works were publicly exhibited in prominent venues, discussed in major art journals and daily press publications, and acquired by museums.

Richard Loving. Copyright held by the artist's estate.

Richard Loving (artist)

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a mature stage and body of work in Richard Loving's career when he gained wide recognition as a member of the "Allusive Abstractionists," a self-named group of Chicago artists. They were united by their mutual interest in a form of organic abstraction that embraced real-world reference, evocative imagery, metaphor, subjectivity and old master techniques, while exploring contemporary stylistic problems. Loving's work of this time maintained his use of bright patterns of obsessive markmaking, but began to incorporate free-form, flat diagrammatic shapes and symbols, often with bold, electric outlines, that alluded to sexuality and elemental or microcosmic life. Critics suggest this Introduced a surrealist quality into the work, transforming it from a cool formalism to a more fantastical, mysterious realm. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to visualize this key mature phase in his work, its reception and impact. Loving's work of this type and this work is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Richard Loving, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.