Sentences with phrase «field painting then»

Raised in a religious household, he considers aspects of spirituality as it relates to Minimalist and Color Field painting then applies this perspective to negotiate the constant distraction of contemporary culture.

Not exact matches

It curved left, then more left, before eventually striking the left field wall right at the yellow painted foul line on the padding of the fence.

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Then, the year 1915 flashes on screen, and Beauvois cuts to a long shot of two women — Hortense Sandrail (Nathalie Baye) and her daughter, Solange (Laura Smet)-- plowing a field with a quiet nobility that brings to mind a Jean - François Millet painting.

Yes, arts learning may have social and moral and professional benefits, but if people don't value the materials of the fields themselves — if they can't say that if High School X doesn't acquaint students with Renaissance painting, classical music, and modern dance, its graduates will be undereducated — then arts educators lose in the competition for funds and hours in the day.

And then you back off and you think about it, or somebody comes in the studio and you talk about what you do and you conceptualize things that didn't necessarily come out of any clear plan... a field of vision depends on what's in your mind... what you really see is not just how you're painting or what it looks like.

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

Then again, color - field painting always demanded that painting show itself as an object.

He did, however, have an openness to the medium, despite what were then hostile attitudes toward craft - based processes and decorative sensibilities in the fiercely territorial field of avant - garde painting.

This field of reference is then painted over in a manner evocative of post-war Abstract Expressionism, from its sedimentary layers and floating blocks of color to the swipes and splatters of its more animated moments.

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.

In Innes's own words, «It wasn't sufficient for me to cover a painting in a single color and then inscribe the field with a line.

Painted four months after his arrival in Arles, Wheat Field displays some of the key lessons that Van Gogh learned in Paris — the bright palette of the Impressionists and the individual touch of the Neo-Impressionists — which by then had developed further into his highly personal, signature style with its distinctive brushwork and singing colour.

Gorchov, then, does not disassemble and disperse the elements of color - field painting.

By spraying paint, rather then by brushing, the effects are like a photographer's use of depth of field.

Assistant to the Director of Operations David Johnson then explains the efforts to install this extremely large, flat field painting in our galleries.

You then came to New York in 1954, at a time when Abstract Expressionism was hitting its late peak and beginning to transition into Color Field painting, Pollock was gone, and de Kooning was leaving for the Springs.

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.

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.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

This resulted in his minimal «line paintings» and then canvases filled with fields of subtle gradations of color created by thousands of dots.

Greenberg favored, sequentially, Abstract Expressionism, then Color Field painting, and later Lyrical Abstraction.

By then I had put the Terragni book aside and was working on my own project, which was more influenced by conceptual art, by color field painting, by Krauss's, Michael Fried's, and Clement Greenberg's writings.

In Morgenthau Plan paintings Kiefer has mounted a photograph of the fields near his property in the south of France on the canvas first and then applied paint in thick impasto on top of the paper completely obscuring the images beneath.

In 1962, Dine was one of eight artists — along with Andy Warhol, Roy Lichtenstein, Ed Ruscha — included in the seminal New Paintings of Common Objects exhibition curated by Walter Hopps at the Pasadena Art Museum (now the Norton Simon Museum), which is often credited with defining the then - emerging field of Pop art.

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.

Another major breakthrough for him came with the landmark, mural - scale 1971 painting Railroad Horse (now in the collection of the Museum of Fine Arts, Boston), featuring cascades of vibrant, poured pigment, Poons then came to be regarded as one of the foremost Color Field painters.

He then applies it to canvas, often setting the dry acrylic pieces into a field of wet paint, essentially creating inlaid paintings where the sense of spatial relations is not readily apparent.

This may be a bit left field, but I was in London for Bernard Cohens breakfast at the Tate Britain, where I went straight to see the Cezannes at the NPG and then to Garys show at Paisnal.Let me say I take my hat off to the Paisnal gallery for showing an artist so obviously alive and kicking.Ive known Gary since we showed together at MOMA oxford straight out of college.I also remember his big show at the ACME gallery, where he mixed drawing and paint very successfully.I have to say I was a little disappointed, particularly the way an abstract expressionist activity stresses the surface, particularly the Rhoplex PVA, which looked frothy..

They are staggering because they move back the invention of abstraction from circa 1910, when Kandinsky was said to have set art on a new path with his first «non-representative» paintings, to 1861, when Houghton produced The Holy Trinity, a dark crisscrossing of red and blue lines up and down the paper that then go left to right, then down again in twists and spirals, and up once more in energetic slashes, a working and reworking of energy fields so layered and physical that it can accurately be described as action painting.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

In the early 1990's Mark studied the techniques of watercolor painting, used these techniques in graphic and color field paintings and then adapted these techniques to acrylics and to his interest in the EXPLOSION OF COLOR, EXPLORATION OF MOVEMENT and EXCITEMENT IN DISCOVERY which has become the essence of his work.

The course followed a predictable, almost teleological progression, as Abstract Expressionism was succeeded by Color Field painting, Pop, Minimalism, Conceptualism, and... and then, sometime in the»70s, everything fell apart.

«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.

What role did that play in this change from the early compositional work, where you put some things here and there and then you balance them out in terms of composition, to making the painting a fully constituted field to be addressed as a unit?

His most recent work, which returns to the blue color fields of the sky paintings are panels of honeycombed fiberglass which are then damaged, sawed through, again disrupting the Rothko - like sublime of the painted panels and revealing their texture.

The washy fields I was painting then began to lose their landscape reference to something more non-objective.

A 1995 Guggenheim Fellow whose work is in collections at, among others, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden and the Brooklyn Museum, Zakanitch, 82, began painting in the mid-1960s as an Abstract Expressionist and then a Color Field artist.

These free - style, smooth, vector - based motifs of angular scribbles, slicing zig zags, looping lines, biomorphic shapes and colour fields are then exactingly transferred onto large scale canvas with paint and tape as well as digital printing.

In Kristin Baker's work, previously described as «dystopian Colour Field painting», the contours are composed more deliberately using taped outlines and broad washes of luminous colour, onto which gestural passages and marks are then spontaneously added.

Until then, Mr. Rosenquist had been making paintings consisting of allover fields of brushmarks in the spirit of Abstract Expressionism.

Then in 1944 Newman returned to painting - after first destroying most of his previous work - and over the next 5 years evolved his signature style of Colour Field Painting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublimepainting - after first destroying most of his previous work - and over the next 5 years evolved his signature style of Colour Field Painting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublimePainting: a style in line with his view that, in an age of moral uncertainty and physical insecurity, the only rightful subject matter for an artist was the «sublime».

Advances in the field of cognitive science made since the seventies could make some of these paintings more contemporary now than they were then.

I paint the layers, guided by the study, and then play the opaque elements against the color «field» and pictorial space as it has developed.

A sequence of paintings from the 1950s and early»60s shows Carone swept into the gravitational field of de Kooning's abstractions and then working his way free.

Bannard's paintings from 1959 to 1965 contained few forms, as little as a single band painted around a field of color, and then developed into somewhat more complex geometric forms by the mid-1960s.

This chest of drawers was painted first with a coat of Primer Red and then in Lem Lem, a soft warm green inspired by the colour of allium fields in Ethiopia.