Sentences with phrase «about pictorial space»

Challenging and reinventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

At the fair, this piece by Morris — who frequently refers to the work of the late Belgian abstractionist Raoul De Keyser — towers over the viewer, broadcasting vague but palpable referents and ideas about pictorial space.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

Not exact matches

I might ask participants in one of my workshops to make a bright painting that celebrates the color gray in order to make them think more deeply about the variety of ways gray can function in pictorial space.»

What do the contradictions between these pictorial spaces tell us about each culture in particular?

Regarding «Shadow Brigade», Sarah has noted that people were discussing it, looking at it, talking about moving around the complex transitions of pictorial spaces of the painting in a manner quite comparable to that of looking at and moving around in a complex spatial figurative painting — BUT, it is now clear that this is not a quality restricted to figurative painting, and this particular quality of how the eye takes in and moves around imaginatively in the work is just a natural condition of all painting once it starts to develop and mature and take on synthesised complexity to any degree.

Even so, there is a special quality about these California abstract painters that carries not only a classical context in terms of pictorial space but also a certain unpredictable eccentricity, which the Hammersley exhibition at Ameringer McEnery Yohe expresses paradoxically on both a modest and heroic level.

Rothko made few public statements about the mechanics of color or pictorial space in his work, especially after 1949.

From a reservoir of largely vintage ephemera, Letscher creates a dense pictorial space in which words, images, colors and shapes tell a story about the world we imagined for ourselves as children and the often - painful real world we experience as adults.

But, even more, it asks us to think about exactly what space is being represented in pictorial art.

Writing about Matisse's Snow Flowers (1951), Morris notes: «This chromatic orchestration in and out of pictorial space is inseparable from a literal, collaged layering, as fronds overlap or touch edges, some crisp, some soft.

I was thinking about the soul, or a sense of space in which something shimmers, in which light shifts and re-appears, a sort of haunted space, which is Callum's pictorial space for me.

After moving to New York City in about that time, he joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists who were exploring the limits and possibilities of art by experimenting with new techniques and ways of organizing pictorial space.

A founding member of the Brazilian Neo-Concrete movement, Clark proposed a radical approach to thinking about painting by treating its pictorial surface as if it were a three - dimensional architectural space.

Ever since then I've been thinking about ways in which I can stretch the space in a sequential frame that would embrace ruptures in my own pictorial application while being receptive to the surrounding architecture.

His work contains some of the early provenances of modernism — pictorial compression of space and a nagging anxiety about a shifting cultural identity — despite the perception of his Fauvist, bourgeois complacency.

He might have seemed, at the time, to be speaking for the great cultural movement about to emerge — for James Joyce, with his layering of classical myth and the profane reality of early - twentieth - century Dublin in Ulysses; for Picasso, whose postwar art of pastiche seemed to disassemble and recombine historical styles just as his earlier work had taken apart and reconstructed pictorial space; for Stravinsky, whose music had found a sense of modernity in both primitive ritual (The Rite of Spring) and the mincing artifices of the eighteenth - century ballroom (Pulcinella), and who sought for his Oedipus Rex «a medium not dead but turned to stone.»

This workshop is about translating 2 - dimensional pictorial space into 3 - dimensional form.

Confirming the particularly visual contingency of her paintings and prints, the non-perspectival experience of the sea front panorama referenced above was echoed and confirmed in Bridget Riley's own words: «Pictorial space has to be about something on a two - dimensional surface, in which pictorial space happens by pictorial thinking... perspective is by no means the only waPictorial space has to be about something on a two - dimensional surface, in which pictorial space happens by pictorial thinking... perspective is by no means the only wapictorial space happens by pictorial thinking... perspective is by no means the only wapictorial thinking... perspective is by no means the only way.»