Sentences with phrase «abstract application of paint»

In the new paintings, several planes of visual information collide: the abstract application of paint on the surface and a photographic representation of another place and time masked in the background, each layer obliterating the last.

Not exact matches

However, through the thinness of his application of the acrylic paint Warhol has characteristically drained the broad brush strokes of any distinctive personality, thus flying in the face of earlier critical and popular appraisals of abstract expressionism as a record of the psyche of the artist.
Gilliam established himself at the forefront of American abstraction while working in Washington, D.C. in the 1960s, when his experiments with paint application and his radical transformation of the canvas support profoundly expanded the possibilities for the future of abstract painting.
Her process - led, abstract painting practice employs a tempered gestural language where fluidity is a defining material concern and the process of erasure has equal importance to the intuitive application of paint.
Termed Color Field painting by the art critic and champion of American abstract painting, Clement Greenberg, it was defined and differentiated from Abstract Expressionism by an intense approach to color theory and a revolutionary application of paint.
His «spray loop» paintings, produced by using a spray paint gun, were a fascinating embodiment of the reductive abstract tendencies in 1960s American art, and of the interest of the time in innovative applications of new techniques.
Eva Berendes» practice draws on the history and language of abstract painting in conjunction with the application of craft and applied arts.
From Joan Mitchell's loaded brushwork in Before, Again IV (1985) to Wayne Thiebaud's painting Candy Counter (1962), in which lush pigment seems to frost the images of cakes, a tactile application of paint energizes both abstract and figurative canvases.
The formal language of his paintings is abstract, while the visual means range from simple line drawings to thick paste - like applications of paint.
Sam Francis's untitled monotype composition signals the culmination of the artist's career - long investigation of abstract painterly procedures: the aggressively stroked red field and chance application of colorful drips and blots energize the surface of this broad horizontal frame, synthesizing the dynamism of Jackson Pollock's drip paintings and the powerfully reductive aesthetics of Color Field painting of the 1940s and 50s.
The moody dystopian atmospheres are punctuated by subtle color shifts and a variety of paint applications varying from meticulous rendering to loose, abstract expressionist strokes, describing figures and places like a visual shorthand.
Additionally, even when he was inspired by Chinese art, notably by a trip he made to China in 1987, and became more gestural and intuitive in his application of paint, he did not accept one of the longstanding, underlying assumptions of New York - based abstraction, dating back at least to Frank Stella, which was the widely accepted belief that abstract painting could be both objective and immediately accessible.
Wang's vivid yellow «Untitled» and vibrant «Coffin» paintings both serve to record the abstract concept of time through the application of paint, with layers added over a period of several weeks.
The coloured threads are compressed and then pulled apart, like the application of impasto paint with the loose drip effect of abstract expressionism.
The thick application of the paint created an element of objectivity Richter felt was missing in abstract art.
Like her husband, the Abstract Expressionist painter Willem de Kooning, Elaine de Kooning was interested in abstracting the human form through gestural mark - making with black lines and the direct application of pure, unmixed paint colors juxtaposed, rather than blended, on the surface.
Like in an abstract expressionist painting, the subject of Cycle becomes the gesture and application of paint.
His abstract paintings realised in the late 1950s and early 1960s involved a fluid application of oil paint mixed with turpentine, a technique that he had learnt from Victor Pasmore, and these works were reminiscent of the impressionist style.
Over the past four decades, Frize has intentionally reduced his practice to the application of color to a canvas, developing a seemingly endless array of methods for making chromatically brilliant, abstract paintings.
On the opposite side is a small but intense vertical abstraction by Louise Nevelson, and a cityscape by Alice Neel: I am particularly fond of works by Alice Neel that are not portraits, but still lifes and cityscapes, because one can appreciate her drawing and paint application in a different manner when they are not applied to her strong sense of figuration which may overwhelm a viewer's ability to fully appreciate her more abstract qualities.
Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski's creative evolution as an abstract artist, demonstrating the breadth of his experiments in light, color, texture, application and technique.
These city paintings, many of them of the city's main bridges, share commonalities with the funky return to representation and figuration via a meld of loose abstract expressionist brush strokes and paint application — lots of scumbling and blobs of paint — and a sort of ecstatic folk primitivism adopted by his contemporary and friends in New York in the mid to late 50s, such as Red Grooms, Robert Beauchamp, Gandy Brodie, Mimi Gross, Jan Müller, and Claes Oldenburg (with Eva Hesse picking up the tradition in the mid-60s).
Maine got a lot of mileage out of the indeterminate space between the abstract and the photographic in his recent exhibition at 490 Atlantic, and this picture suggests a different take on that same exploration, here dropping his signature moiré pattern in favor of a more direct approach to the application of paint and a decidedly more aggressive palette.
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