Sentences with phrase «abstract elements of color»

Both practitioners of «deep observation» of their surroundings, these artists employ similar artistic techniques as they explore the formal and abstract elements of color, shape, and light of still life objects and landscapes.

Hodler's experimentation with the abstract elements of color, line and expression created a vibrant new mode of Swiss art at the dawn of the twentieth century.

Not exact matches

That is why the most famous fashion houses and brands have demonstrated many plaid coat designs and the variety of patterns is huge — they can be small and large, in different colors or dark colors, with strict lines or abstract elements.

Sultan writes: «used the elements of cartooning ---- bold colors, simple shapes, black outlines ---- to create vivid and inventive abstract paintings.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Like the best abstract painters, Guérin's Corbett vs. Dempsey solo show, bunker, can be enjoyed purely off of its aesthetic elements; the soft, unassuming color palette, which is inviting but never distracts from the real arresting element, the glorious mastery of shape, the seamless and unsettling - uncanny, maybe, is best?

Using elements of color, text, and abstract symbolism the artists created iconic representations of the people and issues that defined the time.

We typically associate Milton Avery «s style with fauvist seascapes, quiet domestic interior scenes where people with blue, red and green bodies dissolve into shapes and outlines, abstracted flat shapes that hold on to representational elements and beautiful color fields that will forever hold their importance in the history of art.

The current show at Artspace in New Haven, CT, highlights seven painters whose abstract work focuses on elements of color, shape, and surface.

The final wall is devoted to pieces from Ippolito's «Regatta Series» (1984 - 89) in which the watery color planes suggest abstract but recognizable elements like pennants, sails and boats, and black wave forms blend into blue ground in «Land's End» (1986), with the full blast of wind on sails being felt in the horizontal diptych «Windward» (1987).

Furthermore, although his paintings are emphatically abstract (in fact, he believes in the historic inevitability of abstraction), they are not about the relationships of formal elements such as color, shape and line.

Unlike van Gogh, who in the Nineteenth Century could not yet imagine a wholly abstract art, Mitchell mobilized her artistic will to liberate the constituent elements of painting — line and color, composition and gesture — from their servitude to the fleeting appearances of the material world.

Painter and printmaker Jennifer Bartlett is known for her experimentations into color and pattern, and her propensity for combining elements of abstract minimalism and representational painting.

Her paintings, often of reduced, abstracted compositions in drenching colors, involve the interplay of elements.

Behnke writes: «For the event, Roach brought together six abstract / non-objective painters whose works offer a dramatic contrast to their ancient surroundings even as formal elements (grids, texture, color and composition) are often reflected in the environment of the crypt.

Realized by Color Field artist Sam Gilliam, this unique painted work layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composiColor Field artist Sam Gilliam, this unique painted work layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composicolor, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composition.

Comfortably filling the spacious, irregular proportions of the center's main gallery, the installation is composed of three distinct elements: freestanding abstract sculptures; color photographs of the artist's hands (palms out and partially covered in paint); and black - and - white videos appropriated from vintage films of competitive stone lifters (which is where the pun comes in).

Imbued with a sense of personal iconography, his practice often combines signature figurative elements, such as bug - eyed humans and eclectic headgear with gestural, abstract blocks of color.

Utilizing abstract geometries that rival those of M.C. Escher, as well as representational elements like waves, trees, and garlands of flowers, which she stylizes to the point of uncanny hyperreality, Steinkamp through her immersive environments dematerializes galleries» architecture into undulating fields of color.

In this striking print, Hume has abstracted elements from portraiture, reducing the representational quality of the image to a simple arrangement of line, color and subtraction.

Instead, some artists relied on the basic formal elements of art — for instance, line, shape, and color — to suggest abstract, universal concepts (love, war, music, spirit, energy).

In Europe, he mastered a type of watercolor where he achieved an abstract ambience, almost a pure abstraction with color that ranges from transparency to translucency, accompanied by strong opacities, and linear elements, always with a sense of freedom, which became one of his trademarks.

A honeycomb of color, numbers, and symbols, the elements alternate between light and dark, with each square bearing an abstract marker.

It should also be noted that Bradley has been taking his experimentation a step further than combing Minimalistic and abstract elements — he has been known to assemble uncomplicated figures from a couple of canvases with simplistic depictions similar to color field paintings.

His later paintings are virtually all non-representational, reflecting his interest in abstract design elements, as well as geometric shapes that are visually «complicated» by various pairings of colors.

Realized by Color Field artist Sam Gilliam, this lithograph with intaglio and relief layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composiColor Field artist Sam Gilliam, this lithograph with intaglio and relief layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composicolor, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composition.

Realized by Color Field artist Sam Gilliam, this relief monoprint layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composiColor Field artist Sam Gilliam, this relief monoprint layers color, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composicolor, movement, and other abstract elements — meditating on both the relationship between shapes and colors as well as elements of a harmonious composition.

Different systems and layerings of visual elements — color, mark, shape, division — yield crystalline structures, linear networks, and other abstract dialects.

Wright's paintings, whether abstract expressionistic or color field, have bold colors and compositions, gestural strokes and the essence of drawing — through his generous use of the formal elements of line and the color black.

Defined ife with texture, color and organic forms, Nnenna Okore's abstract sculptural works are infused with narrative elements that draw on the landscapes and environs of Nigeria, where she was raised, and Chicago, where she lives, works and is a professor of art.

Departing from elements of landscapes like Berlin's construction sites or micro - and macroscopic pictures as a raw material, she rearranges those forms, structures, colors and fields in an image making process which arrives at abstract compositions of ambiguity and multiple meaning.

Caro and Olitski's achievements in surface, color and form through unusual, industrial elements enabled them to emerge as successors of the first generation of the New York School, and, in turn, inspire later generations of abstract artists.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.

In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two - dimensional space; monumental scale; and the varying shape of the canvas itself.

Upon first glance, the majority of Tomic's oeuvre appears altogether abstract; however, in many of her works, the artist adroitly conceals figurative elements within an all - over composition brimming with color and texture.

Since the beginning of his career in the mid - «60s, Robert Mangold (b. 1937, North Tonawanda, NY) has combined the classic elements of composition — shape, line, and color — to create abstract works of architectural scale, drawing by hand thick and thin graphite lines on subtly modulated planes of color.

Lundeberg's attention to formal elements such as balance and color connect her to a previous generation of abstract artists, including Henri Matisse, Piet Mondrian, and Josef Albers.

The work is in many ways characteristic of what one might describe as Snyder's signature style — it is large in scale and brightly colored, its composition is guided by a grid - like structure, and it contains both abstract and narrative elements.

I feel like the addition of figurative and naturalistic elements in the abstract forms and fields of color ground the paintings in a way.

Her work is abstract but draws elements from many places: her love of the colors and geological forms of the southwest, repetition, pattern, and an attraction to human - made structures for containment such as fences and stone walls.

Her work is abstract but draws elements from many places: her love of the colors and geological forms of the southwest, repetition, pattern, and an attraction to human - made structures for containment such as fences and stone walls.