Through painting, Maygarden's unique works possess
an abstract illusionistic quality, confounding the viewer with a seemingly computer - generated aesthetic.
Not exact matches
Faust is widely known for his
abstract paintings and sculptures that employ color to convey emotion and meaning, often with the use of
illusionistic effects.
What changed for Thiebaud in his landscapes of the 1990s and 2000s was the incorporation of Diebenkorn's sense for structure, with angled rays acting as both
abstract lines of force and
illusionistic lines of sight.
Rauschenberg's abandonment of
illusionistic depth effects — whether of conventional representational art or of the
abstract expressionists» vast, immeasurable spaces — seems to come in part from an attachment to the physical realities of this world rather than to the less tangible possibilities of an inner vision.
This exhibition consists of
illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as
abstract paintings.
On view in PC — G's Reilly Gallery, this group exhibition consists of
illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as
abstract paintings.
At that time,
illusionistic abstract works appeared on the walls of major museums and galleries around the world.
He enclosed vast panoramas in
abstract lines of color that created an oscillation between pure painting at the edges and moments of
illusionistic space at the center of the work.
Interested in the spatial dimension of paint, Grosse wields a spray gun rather than a paintbrush, creating
abstract and
illusionistic layers of color and texture on unconventional surfaces.
Using the language of
abstract painting and the modernist grid, the pieces reflect into an
illusionistic space without fully relinquishing their sense of physicality.
These are sometimes almost
illusionistic within the
abstract context she sets up; for example, when painted areas mimic how light falls on the actual velvet in the piece.
In my current paintings, I have reintroduced the idea of
illusionistic space in a way that stays true to the
abstract forms that I have been experimenting with for the past 5 years.
As in the best Hodgkin paintings, a tension arises from the precarious balance of
illusionistic space and the purely
abstract, tactile richness of the surface.
These
abstract canvases are then overlaid with
illusionistic motifs taken from, among other images, Baroque painting, Hollywood studio advertisements, televised war coverage, and political propaganda.
Within this facial framework I am
abstracting and composing relationships of colours and shapes to generate
illusionistic spaces suggesting further associations.»
Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually
abstract and the
illusionistic depiction of real space created by the action of light on film.
Despite its conservative style
illusionistic surrealism continued the movement's radical exploration of the content and workings of the unconscious mind, although it was the
abstract wing of the surrealist movement that influenced members of the New York School in the forties.
By deconstructing the figure into fragments on two two - dimensional plans, Amy pleasant makes
abstract portraits that become
illusionistic when seen from different angles.
Her time in Japan and study of calligraphy followed by a move to New York City influenced her seminal works from the 1960s and 1970s, which shifted dramatically from the purely gestural to more representational and
illusionistic — albeit highly
abstract.
Ever since his softly overpainted Views of Corsica series of 1968 - 69, the artist has revisited and reprised its possibilities, creating black - and - white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto,
illusionistic seascapes in subtly gradated tones and paintings worked with
abstract overpainting.
In post-World War II America, however, the primacy of
abstract art was clearly acknowledged, and by 1961, when Norman Rockwell painted The Connoisseur — his visual treatise on the subject juxtaposing Jackson Pollock's nonrepresentational art with his own
illusionistic imagery —
Abstract Expressionism had been covered in the popular press for nearly fifteen years.
His
abstract and figurative work alike is devoted to the delicate balance between surface modulation and
illusionistic depth, between the establishment of structure and its dissolution in light and space.
It evades the easy polarities or flat or
illusionistic, which we associate with
abstract or representational painting.
How do you keep the painted relationships in an
abstract painting JUST spatial / pictorial — neither depictive, descriptive, suggestive of
illusionistic, figurative, atmospheric space; nor literal, one layer on top of another (even though they are), or flatly adjacent?