Sentences with phrase «using thick brushstrokes»

Using thick brushstrokes, he conveys their volumetric aspect, their powerful vitality, and their ascending motion.

He uses thicker brushstrokes against black, like Abstract Expressionism as street art.

In them he used thick brushstrokes rhythmically applied in Neo-Impressionist style to create the heavy cloud and mountain shapes that remained as central motifs of his work.

Not exact matches

As a result, Drescher began refining her painting style using vivid colors, thick application of paint, and distinctive brushstrokes.

The artist uses both vibrant colors and thick brushstrokes of bright and bold colors.

Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto.

I associate this banded - brushstroke technique with Howard Hodgkin, who has for many years made occasional use of a rougher sort of proto - gradient, loading his brushes with multiple colors and laying in blunt and / or sensuous strokes of thick, multicolored paint.

Using bright, matte colors and thick brushstrokes, Casteel creates images that contrast with stereotypical depictions of black men in motion — whether as star athletes, swaggering rappers, or baleful hoods.

Richter applied the paint in thick brushstrokes, or with rollers and an aggressive sweep of a squeegee (ironically, a tool commonly used for window cleaning and clarifying one's scope of vision).

For his rousing Lens Paintings, now on view at Michael Werner, Polke used a rake - like tool to craft ridged sheets of thick gel medium (a material, the artist dryly notes, that is often employed «to add the brushstrokes to the van Gogh reproduction»), then placed these translucent scrims over his canvases, distorting the underlying scenes.

Kerlidou writes: «Bonnefoi's strategies seem to condense a few aspects of the work of his American contemporaries: the objectification and theatricalization of a gesture devoid of pathos of David Reed; the deconstructing strategies of Jonathan Lasker — even if Lasker's use of exaggeratedly thick brushstrokes seems closer to Dunoyer; the collaged elements in Philip Taaffe's paintings; and the interplay between the front and back in the work of Craig Fisher.

West used thick, black brushstrokes, similar to Franz Kline's style, in works such as «Totem,» an enamel on paper from the 1960s, and an untitled enamel work from the 1960s.

Using thick, rhythmic brushstrokes, he gesturally paints elegantly distorted female figures interacting with various animals in an intriguing suspension of reality.

Like the great formalist painter Hans Hoffman, who taught his students to look at Rembrandt's light and dark shadows and replace them with corresponding colors, Ansel uses a rich palette and thick, gestural brushstrokes to translate these masterpieces into a contemporary vocabulary.

Bonnefoi's strategies seem to condense a few aspects of the work of his American contemporaries: the objectification and theatricalization of a gesture devoid of pathos of David Reed; the deconstructing strategies of Jonathan Lasker — even if Lasker's use of exaggeratedly thick brushstrokes seems closer to Dunoyer; the collaged elements in Philip Taaffe's paintings; and the interplay between the front and back in the work of Craig Fisher.