Sentences with phrase «field painting became»

For example, when Color Field painting becomes materials and techniques, it diminishes your experience.

Not exact matches

Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

Frank Stella's approach and relationship to Color Field painting was not permanent or central to his creative output; as his work became more and more three - dimensional after 1980.

In color field painting «color is freed from objective context and becomes the subject in itself.»

With encouragement from Greenberg, Bush became closely tied to two movements that grew out of the efforts of the abstract expressionists: Color Field Painting and Lyrical Abstraction.

Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being.

The evening at Swiss Institute will unfold according to the rituals, choreography and aesthetics of color field painting and strategy games, in which human - scaled objects become pawns in activating their own function as sculpture.

Lyrical Abstraction shares with both Abstract Expressionism and Color Field Painting a sense of spontaneous and immediate sensual expression, consequently distinctions between specific artists and their styles become blurred, and seemingly interchangeable as they evolve.

Critic Helen Sumpter suggests in her recent essay on Gabb: «It's almost as if Gabb had taken something of the cool colour field paintings of Barnet Newman and turned them into something like the gestural action paintings of Jackson Pollock... These extraordinary artworks could also be seen as somewhat flighty but if they've become sculpture, paintings should at least stay fixed in their final form, shouldn't they?

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

Most notably, the DMA has become a major player in the field of contemporary art, as evidenced by the November acquisition of Leaf (1970), a major «Drape» painting by Sam Gilliam, a figure in postwar American abstraction.

Also noticeable is Natkin's heightening sense of color and light, which become a major focus in his next series, the Field Mouse paintings.

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

In many of your paintings the foreground and background together create an all - over atmospheric field, while in your recent paintings, large star shapes become significant points of focus constructing much more of a figure / ground relationship.

The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color field painters.

Shi Zhiying has become well known in her native China for stark monochromatic paintings of uniform vistas — open water, Zen sand gardens, carpets of grass, facades of weathered ancient structures — that flood the viewer's field of vision.

During the 1950s he became one of the earliest exponents of Color Field painting.

And there was also a change in Helen's work at the beginning of the 1960s, moving it toward the Color Field painting with which she would become most associated.

Eventually, she switched to acrylic paint, but Frankenthaler's sensuous and painterly staining technique led Morris Louis to adapt her process in what would become known as «Color Field» painting, and declare that Frankenthaler was the «bridge from Pollock to what was possible.»

In his installations, he has created silver Celotex walls that invite museum - goers to become vandals, and transformed shag carpets into grand echoes of Color Field paintings.

She has recalled, «When I was a child, one day I was walking in the field, then all of a sudden, the sky became bright over the mountains, and I saw clearly the very image I was about to paint appear in the sky.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Rothko gets the central rotunda for six of his sonorous, saturated - colour field paintings, while Barnett Newman is perhaps even better served with his sculpture Here I (to Marcia), a towering strip of bronze, standing in front of three of his majestically sombre blue paintings, as though it's been torn out of the painting to become something tangible and actual.

He joined Christie's as a specialist in American paintings, and became Director of the American Paintings Department in 1995, leading several of the firm's most successful auctions in tpaintings, and became Director of the American Paintings Department in 1995, leading several of the firm's most successful auctions in tPaintings Department in 1995, leading several of the firm's most successful auctions in the field.

In addition, curators anywhere may expand on their field of study, as when a scholar of decorative arts became director of the Frick Collection, that marvel of European painting.

Sometime in November or December, while working at night at Dartington Hall and listening to the horses breathe in the field outside his window, he painted a series of three paintings,» Broadway», `' Welcome Hero», and `' Broadway Norm», in the style that would become known as «white writing» (an interlacing of fine white lines).

Painting now became a field of madly intense activity of the mind and eye that could happen in whatever format the painter is attracted to.Painting has existed for millenia, and has been practiced by innumerable cultures for religious or political or decorative purposes.

This «paintersculptor», as Castoro called herself, began her career in the field of graphic art but soon became interested in dance, from which she acquired the conception of space, later turning to painting and then sculpture.

The next paintings in this show explain much of what that field became and how personal he chose to go into the 70s.

During the 60's Dzubas became associated with the Color field painting and Lyrical Abstraction movements.

The early paintings are blocks of color and shapes that are based on things and scenes that Judd saw, later he moved to abstract shapes without the references and this in turn became shapes on fields.

Fauvism and Henri Matisse in particular became an important influence on both abstract expressionism and color field painting, important milestones of Late Modernism.

In the «color field» paintings of Kenneth Noland, John Hoyland and Etel Adnan, for example, pure planes of colour dominate and individual gesture becomes secondary to colour and line, and their interactions.

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes.

This was kind of an evolution of Jackson Pollock's dripping and became known as Color Field painting — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

In the studio, the fields of transparent purplish wash or pattern become imagistic paintings.

«The process of making these is so slow and organic — like creating an aftermath or a debris field where you intuit, and sometimes actually make out, the lives of many generations of humans, alongside nonhuman traces, and objects, all laid down under pressure — which take time to make and are filled with that time, pieces of what might have been a larger canvas of handiworks that reference entire lives, whole communities that are brought into the field of the painting, where the painting itself becomes another community,» described Sacks his painting method in a 2014 interview with Natasha Kurchanova published on Studio International.

In this painting, the colors and textures in a field of wild grasses are transformed into new shapes and brushstrokes, which subsequently undergo experimental development, taking on new visual meaning, in what then becomes the painting.

Painting now became a field of madly intense activity of the mind and eye that could happen in whatever format the painter is attracted to.

The paintings become gauzy mindscapes (not landscapes, mind you, but something much more vulnerable and cerebral), rendered with Flashe vinyl - based acrylic paint that stains and swirls on the canvas in color fields, before being lyrically interrupted by thin vines of colored neon light.

Geometric forms combined with painted color become utilitarian 3 - D Color Field paintings.

In some paintings, the clarity of the grid becomes muted by an all over color field.

While in America — he did not return permanently to England until 1994 — Jones became preoccupied with process painting, particularly the way the Color Field painters, such as Helen Frankenthaler, Jules Olitski, and Larry Poons, practiced it.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

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By the 1960s Newman's stature in the field of contemporary painting became increasingly apparent to a wider audience.

Newman became known as a major painter in the last decade of his life, and his work was an important influence on the practitioners of color - field painting.

They are young graduates from London based insitutions, both root their practice in the field of painting and above all became close friends along their way.

The painted fields of some works become a delicate surface of exquisitely rendered brush strokes, with all of the shimmering complexity of a silk tapestry.