Nildo Martins is considered as a well established. Nildo Martins was born in 1948. Also born in 1948 and of this same generation are Rudite Dreimane, Maurice Escot, Alexandre Garcia, Eva Brožová, and Richard Dussaulx.
Further Biographical Context for Nildo Martins
Nildo Martins was born in 1948 and was predominantly inspired creatively by the 1960s. The 1960s were a sensational decade internationally, witnessing a proliferation of modernist philosophies and trends. It was the era of Kennedy and Kruschev, and the beginning of the Cold War, which would endure for most of the second half of the 20th century, and was epitomised most symbolically by the construction of the Berlin Wall in 1961. The Iron Curtain divided Eastern and Western Europe, both ideologically and literally, and student political uprisings took place across the globe. Psychedelia, an vast increase in consumerism, and the associated trends of marketing and advertising further epitomised the era. Minimalism developed a formal language with no external references, focused solely on line, colour and geometric form as key components of both painting and sculpture. The main figures of Minimalism included Frank Stella, Donald Judd and Agnes Martin. Colour Field painting, as practiced by Morris Louis, Kenneth Noland and Helen Frankenthaler, further explored some of the expressive philosophies of Abstract Expressionism, but removed much of the rhetoric, instead approaching a more rule-based approach to surface and colour that associated this practice with Minimalism. Globally, a number of artistic movements echoed the creative concerns of the previously mentioned movements, often with regional fortes and nuance. In Italy, Lucio Fontana and Piero Manzoni developed Spatialism, and in Germany the Zero group under the leadership of Gunter Uecker espoused similar ideas. The influential school of Existentialist Philosophy was an important source of creativity for creatives, with artists like Francis Bacon and Alberto Giacometti achieving international prominence for their idiosyncratic approaches to the human form and the angst related to the human condition.