During the late 1960s Larry Poons whose earlier "Dot" paintings were associated with Op Art began to produce looser and more free formed paintings that were referred to as his "Lozenge Ellipse" paintings of 1967–1968. Along with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen and several other young painters a new movement that related to Color Field painting began to form; eventually called Lyrical Abstraction. The late 1960s saw painters turning to surface inflection, deep space depiction, and painterly touch and paint handling merging with the "language" of color. Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works. By the 1970s Poons created thick-skinned, cracked and heavy paintings referred to as "Elephant Skin paintings;" while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's "stained band paintings" are reflections of both Chinese landscape painting and the Color Field idiom, and John Seery's stained painting as exemplified by "East, 1973," from the National Gallery of Australia. Poons, Christensen, Davis, Landfield, Seery, Lipsky, Zox and several others created paintings that bridge Color Field painting with Lyrical Abstraction and underscore a re-emphasis on landscape, gesture and "touch".