Sentences with phrase «edge painting further»

Unfortunately, critic Sidney Tillim's 1969 essay for the Milwaukee Art Center, which referred to the images as «machines,» deterred the artist from exploring Hard Edge painting further.

Not exact matches

Wildly ludicrous, insanely fun and exploding with a color pallet painted in devious amounts of vibrancy, Marvel Studios Thor: Ragnarok may not break the structure that the mega-studio conglomerate has constructed so far, but it certainly takes a battering ram to it's smoother edges.

So far so good, only problem is paint chipping on edges of doors, of course they say it must have hit something but it hasn't

Recently he has returned to painting in oil as well, and is rarely found far from the ocean's edge.

With the water gently rocking the yachts, the clacking of the rigging on masts, the jumping of fish only feet away, the call of the seabirds and the conversation with the occasional sailer departing or arriving, makes it a wonderful experience to paint by the waters edge no matter how far inland.

My daughter, Dylan, also showed them a painting with a single figure to the far right edge of the canvas and the rest of the (24 x 30) canvas seemingly contained negative space; but if you held it up to the light, as Dylan explained, you could see another solitary figure that is not visible just by looking at the painting itself.

He would have admired her narrow triangles, not so far from his stripes and similarly playing off a painting's edges and center.

Of Gray's paintings, New York Times critic Ken Johnson wrote that «his stroke is relaxed, but exacting» and described Gray's concerns and «all - over abstractions as a kind of primordial, peaceable kingdom, as far from the frenetic hard - edged modernity of New York City as one could get.

I especially liked the minimal layout in the second gallery, where three paintings seem almost illuminated by their pink sunset backgrounds, and are grouped nicely together at the far edge of a dark wall.

This combination and juxtaposition of materials blurs the usual distinctions between figure and ground, creating a tension between the mass - produced and handcrafted elements that is further heightened by the contrast of the cold, flat stripe of faded metallic paint across the painting's lower edge and the fleshy white of the oil paint.

Born from the Fugian tradition of elders» preparing their coffins with a coat of lacquer for each year until their impending death, Wang adds paint to his canvas twice daily, with each layer farther removed from the painting's edge.

Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device.

Wang paints rectangular fields, each layer progressing farther from the edge and closer to the centre, creating a subtle gradation of colour and the effect of an illuminated rectangle or void.

The 2016 painting Punch presents five abstracted figures seated around a table as viewed from above, while 2015's Misstep captures a blocky, Pez dispenser - like couple treading over an elevated edge towards a tiny realm far below.

By taking a square and dividing it this way, Whitney establishes a tension between the container and its interior, which he further heightens by filling the bands edge to edge with endearingly painted, almost lopsided vertical or horizontal rectangles, each a single color, that shift in scale and number of rectangles from one band to another.

Further Reading: Andrew Causey, Peter Lanyon: Paintings, Drawings and Constructions 1937 - 64, exhibition catalogue, Whitworth Art Gallery, Manchester 1978, p. 46, reproduced p. 48 in colour Margaret Garlake, Peter Lanyon, London 1998, pp.56 - 7, reproduced p. 57 in colour Chris Stephens, Peter Lanyon: At the Edge of Landscape, London 2000

In one tightly calibrated delicacy («Lost Horizons # 37»), the falling water in that printed / painted scene is echoed in irregular patches of decorative marbling, and those fluid striations are distilled further in the work's hem, a fringe of dripped white paint on a dark band along the bottom edge.

In «Donald Trump in Florida,» Saul presents the viewer with two Trump heads, both of them on the far right side of painting, close to the edge.

Views from city windows, gentle scenes of washing lines in back gardens, the artist's shadow on a summer lawn with her painting tools at the far edge of the image: these objects of the painter's attention declare themselves while leaving room to breathe for both viewer and artist.

The Abstraction series is far reaching, lasting until 2014 and included black and white as well as color - based abstractions, hard - edge forms, optical patterns and Color Field painting.

Rector's Abstraction series is far reaching, lasting until 2014 and included black and white as well as color - based abstractions, hard - edge forms, optical patterns and Color Field painting.

Likewise with Stuart Elliot's Untitled (73), where blackboard paint has been applied to primed canvas before being stretched and the image, in so far as there is an image, looks to have been constructed by scumbling the paint over the bars of a wooden stretcher, creating impressions of the stretcher, not only at the edges but through the centre of the canvas, in numerous directions.