Sentences with phrase «cubist forms»

Lachowicz's Cell: Interlocking Construction (2010), a pleasing array of blue pigment within stacked irregularly shaped Plexiglas boxes wrestled Cubist forms out of their 2 - D sepia purgatory.

The artist who had the most profound effect on Hofmann, however, was Robert Delaunay, whose structural Cubism was giving way to Orphism, a style in which fragmented Cubist forms were painted in vibrant, expressive colours.

The ruckus over Duchamp's painting was mainly a result of its provocative title: Nude Descending a Staircase (No. 2) angered audiences that could identify neither a nude nor a staircase in the jumble of fragmented Cubist forms.

With Picasso's strange, geometric costumes, Parade might be seen as the ultimate fusion of classical and cubist forms.

Cubist forms loosen up in a series of Ippolito's «still lifes» like the emblematic table arrangement of «May Still Life» (1979), the earlier «Cubist Still Life» (1970) with its arches and scrolled string instrument, and the low - key floral arrangement within angles of the «Still Life with Cubist Glass» (1979).

The most controversial of the three was, of course, the most abstract: Duchamp's robot - like depiction of a descending Cubist form.

Malevich when he puts the black square over the Cubist form and then writes in the margins «Negroes battling in a cave» — rough translation, as we now know — from the very start, we see two things.

Not exact matches

I become more convinced that the best we can hope for is a cubist portrait of the movement, even though we try for some form of expressionism.

Like one of Picasso's fragmented Cubist portraits, Homo fossils from 300,000 years ago give a vague, provocative impression that someone with a humanlike form is present but not in focus.

In Smithson's view, Cézanne's painting had been distorted by the Cubists, reduced to an almost abstract play of forms.

Hofmann's celebrated rectangle - and color - filled paintings, influenced by Cubist approaches to form, are a significant part of the collection.

A further derivative of the Martels» cubist - inspired interpretations of nature is a grid template from which Boyce has formed his own concrete typography.

Two such stars are the sculptor Satoru Abe, who makes elaborate metal constructions in all sizes from a range of materials with the precision of a jeweller, and the painter Tadashi Sato, who progressed from architectonic or cubist - like compositions to more evanescent forms and the spiritual.

Rail: When I look at the reproduction of the painting «Four Children,» the feeling for the simplicity of form, which suggests the potential for monumentality, and the way you invent the diagonal and horizontal lines around the figures, function like cubist structure.

The forms she paints inhabit a shallow, cubist - like space, if I have the chronology correct many of the later works are larger in size.

We can see the minimalist design elements of Donald Judd, Mies van der Rohe and Brancusi combined effortlessly with the cubist abstraction of forms in the work of Picasso and Picabia, mixed with the rugged embrace of nature and land interventions from the Land Artists of the 1960's: Robert Smithson and Walter De Maria.

His oeuvre includes both Cubist experiments with form and «emotional photography».

Hofmann encouraged Krasner to jettison the naturalist tendencies acquired in her earlier schooling, and she underwent a radical change of style, rapidly developing an abstract vocabulary and producing cubist - inspired compositions that featured bold geometric forms outlined in black and filled with bright colors.

By its focus on shapes and forms, it illustrates Rivera's interest in and knowledge of cubist techniques as well as the landscape painting of Cézanne.

[50] In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form; instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.

Thus was the geometric aspect of capitalism's abstract spatiality given definite form, depicted by the Cubist painters in the first decade of the twentieth century.

Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously.

As Pablo Picasso presented the cubist female form, Mickalene Thomas presents an authentic look at the black female body through painting and photography and now through video.

Following his earliest Cubist works and his still lifes of the 1930s, Georges Braque's Atelier, or studio, paintings from the late 1940s to the mid-1950s form the most important series in the artist's late work.

With its thin, delicate tracery of black threading throughout the strokes of whites and filaments of shifting color forms, Number 15 is a fitting culmination of Tomlin's career.By inclination a superb colorist, Tomlin reduced his palette from 1945 to 1947, and focused first on the painterly mark, adapting a calligraphic technique within a vaguely Cubist structure of horizontals and verticals.

While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis.

His analytical approach to form, lines and color often led him to create his images from fragmentary brushstrokes that will be further exploited by Cubists.

This Modernist ceramic sculptures depicts an abstracted and cubist human form sitting cross legged with his back bent forward and arms outstretched.

By this time, Vigas had created such signature early pictures as Composición IV (Composition IV, oil on cardboard, 1944), with its melding of abstract forms, layered Cubist pictorial space and a palette recalling that of Old Master canvases.

The Sam Feinstein retrospective at the Cape Cod Museum of Art will reveal the seventy - year trajectory of Feinstein's development from realism through expressionism, cubist - expressionism, Hofmann - influenced abstraction to Feinstein's own unique language of color - forms — luminous and life - enhancing — in his monumental, mature abstract paintings.

In 1911, Klee discovered Picasso's Cubist compositions, which he referenced in Hommage à Picasso (1914), and less overtly in Paysage près de E. (en Bavière)(1921) and Senecio (1922)-- paintings that quote the fractured perspective and prismatic forms of the Spanish master.

Showcased in 1925 at the International Exhibition of Modern Decorative and Industrial Arts held in Paris, Art Deco was essentially a reaction against Art Nouveau: replacing the latter's flowing curvilinear shapes with Cubist and Precisionist - inspired geometric forms.

Mink's works weave a visual diary of Futurist intention and Cubist vision within a modern world; offering a «paradoxical echoing of organic forms that are consciously built up with architectonic volumes and planes.»

Disagreeing with Cubist fragmentation, they produced figurative art (mostly still lifes) basic forms stripped of detail and supposedly pure in colour, form and design.

Although the number of abstract painters increased substantially from the late 1900s onwards - in the form of Cubists, Suprematists, the De Stijl movement, Abstract Expressionism and the Minimalists - figurative artists continued to develop new techniques and methods.

An important influence on modern art painting in the United States, Precisionism was an American movement (also referred to as Cubist Realism) whose focus was modern industry and urban landscapes, characterized by the realistic depiction of objects but in a manner which also highlighted their geometric form.

The Surrealists, Cubists, Fauvists, Futurists and Rayonists all made radical departures from reality with exaggerated forms, heightened colours and broken picture surfaces.

Executed with growing assurance and sophistication, they are built on a Cubist armature in which space and form are indistinguishable from one another, simultaneously opening up and closing off representational allusions.

Over the course of nearly two decades (1931 — 49), Levy exhibited contemporary photography and works by Surrealists, Cubists, Social Realists, and Neo-Romanticists, such as British artists Paul Nash and Henry Moore; he also screened experimental films and showed posters, cartoons, and original watercolours by Walt Disney, which would have been characterized as «low» art forms.

Further alluding to art history, the colorful background and abstract forms in Hothouse, as in many of Abney's works, recalls the pop - cubist style of the American modernist painter Stuart Davis.

The African - influenced Period was strongly influenced by African sculpture, which then led to Picasso's Cubist Period, objects are broken up, analyzed, and re-assembled in an abstracted form.

Inspired by Romanesque, Byzantine, Cubist, and Surrealist painting as well as African, Oceanic, and Native American art, he created a lexicon of biomorphic and totemic forms that provided rich visual and symbolic sources that he would explore throughout his long career in a multitude of painterly approaches.

Thus the classic Cubist interpenetration of forms becomes a symbol of the cohesion of people: of the family unit in Family Group and of the two «heroes» of Two Figures.

EXPERIMENTS WITH LANDSCAPE: EARLY WORK During the 1950s and»60s, Frankenthaler explored various styles of abstraction, from Cubist - inspired works such as Abstract Landscape (1951) to more free - form compositions such as Untitled (1962 — 63).

The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp - Villon and Marcel Duchamp to form the Puteaux Group — also called the Section d'Or (The Golden Section).

The London Group was formed by an amalgamation of the Camden Town Group and the English Cubists (later Vorticists) in 1913.

The Synchromists made use of the broken planes of the Cubists, but their lavishly colored areas of paint sometimes looked, as the art historian Abraham Davidson has described them, like «eddies of mist, the droplets of which collect to form parts of a straining torso... To find anything like this in American painting one has to wait for the color - field canvases of Jules Olitski in the 1960s.»

• Katarzyna Kobro (1898 - 1951) Considered to be the most outstanding female Polish sculptor of the first half of the 20th century, she is best known for her early Cubist - style nudes and abstract kinetic forms hanging in space.

In this shifted context, the Cubist subject, be it a portrait or still life, no longer feels like an obsessive examination of form in space, but the trajectory of an image flashing past the eye too quickly to be recorded in conventional terms,» suggesting that «the real subject of art in the modern era is the anxious blur of time.»

Her process of assemblage of environments is also augmented by the way in which she employs pseudo-impressionist painting techniques on a cubist, purely abstracted form.