Sentences with phrase «abstract qualities of these paintings»

The abstract qualities of these paintings don't directly compete with the representational elements but work together to create a vibrant tension.

I love the abstract quality of this painting!»

Perhaps because of his training at the New York School of Art with Robert Henri (1869 - 1929), leader of the Ashcan School, Hopper - unlike other modern artists of his generation - did not feel any need to emphasize the abstract qualities of his paintings to make them look modern.

Not exact matches

Moving from figurative to abstract painting, British painter Cecily Brown thinks about the qualities of paint itself:» When the body disappears it's almost like there's no» there» there,» she explains.»

Braman creates abstract geometric sculptures and paintings in a distinctive color palette of rich pinks, blues, and purples, in which she simultaneously foregrounds the formal qualities of her materials while referring to her own personal narrative.

«Lyrical Abstraction... a Definition» is a proposed exhibition of important, exciting, beautiful and high quality abstract paintings.

The close valued color shifts, luminosity, paint quality, brushwork, texture, and alloverness of drawing anticipate Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman, the arrival of Morris Louis, Larry Poons and much of what was to come in the best abstract painting from the 1940's to the present day.

These important exhibitions bring the faint hope that quality in abstract painting might begin to re-emerge finally from the Duchampian eclipse of the past twenty odd years.

Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.

Work by Rory MacArthur May 14 — June 8, 2009 Carol Jazzar is pleased to present New Abstraction, an exhibit of new abstract paintings rooted in gesture, space and the qualities of the paint.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

These abstract qualities generate a form of psychological impressionism, reanimating a more than century - old tradition of landscape painting that insists on temporal and subjective experiences above representational content.

Romberg's Dirty Geometry subverts the strict, systematic, straightforward qualities of geometric forms pioneered by Wassily Kandinsky, the Russian artist and art theorist credited for creating the first purely abstract paintings.

My interest in the physical, tactile qualities of painting has been there from the beginning, and became more and more prominent, even in my abstract works.

The individual curls and ripples of paper echo the contours of traditional brushstrokes, in some passages even taking on the gestural quality of abstract expressionist paintings.

For Piper, «the point is fullness, completeness: the abstract qualities of all good painting together with the symbolism (at least) of life itself.»

As the artist's first West Coast presentation, the exhibition is an unprecedented opportunity for Bay Area audiences to immerse themselves in the work of an artist whose singular contributions to twentieth - century modernism anticipate today's renewed interest in the sculptural and material qualities of abstract painting.

Herrera's work has remained uncompromisingly abstract and minimal throughout her career — although the hard - edge, rectilinear qualities of her paintings are, on closer inspection, belied by their obviously hand - painted expanses of color.

Rauschenberg would subsequently explain his detachment from what he called «a whole language used in discussions of abstract expressionism that I could never make function for myself; it revolved around words like «tortured,» «struggle,» «pain»»; whereas he himself «could never see those qualities in paint.»

Often crumpled in an industrial crusher and spray - painted in bright colours before being welded together into their final shape, his abstract sculptures are now being placed within the gallery and gardens of Inverleith House, the outdoor location drawing out an unexpected organic quality in the artist's heavy metal works.

At the same time, the thickly painted surfaces emphasize the shape of the pairs, focusing our attention on the surface and abstract qualities.

This sculptural quality allows them to be displayed in various ways: here, strewn casually beneath two large untitled paintings (both 2015), the loose puzzle pieces of Patchworks might be what spilled from the pair of geometrically abstracted canvases above.

On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.

It would be to a degree perverse to look at Thiebaud's famous paintings of cakes, pies and ice cream cones as abstractions, but it is their abstract quality that raises them above the acres of canvases painted by contemporary realists who get so caught up in depicting detail that they lose all compositional structure.

Margaret Garrett's richly colored abstract paintings capture the elusive qualities of rhythm and movement.

The only abstract painting included in this exhibition, Traveler III (1960) forms part of a group of works that mark a transition towards paintings with a more sombre and ominous quality.

Asserting that abstraction «is always about something... what it is about is beyond confines of language,» Sarah Braman creates abstract geometric sculptures and paintings on pieced - together plywood panels, in which she simultaneously foregrounds the formal qualities of her materials while referencing home, family life, and nature.

''... The found object quality of these works draws on histories and practices in painting such as abstract minimalism of the»60s and»70s, quietly positioning an apparent similarity to these real world objects which are rudimentary tools for identification,» according to Karma.

The idealized, abstract quality of the forty - five objects displayed, including sculpture, paintings, and several funerary masks, demonstrated the Egyptian belief that figurative representation was not only the physical record of an individual, but his / her link to immortality.

In our case we chose to create — or suggest — a dialogue between historical works on paper, abstracts from 1968 to 1988 by Eugene James Martin (1938 - 2005), and bring them into a conversation with small - scale paintings by three abstract painters, Clayton Colvin, Odili Donald Odita, and Leslie Smith III, all of which have a profound drawing quality in their work.

Abstracted womb - like forms open out beneath a relatively realistic moorland landscape — echoing both mining tunnels and the birth of Lanyon's first child — the brooding reds and blues given an incised, sculptural quality by the scraping away of wet paint with a razor, a technique learned from Nicholson.

Famous authors, such as the above - mentioned painter Jackson Pollock, Morris Louis, and Helen Frankenthaler used it to produce flowing, most often abstract paintings and compositions which celebrated pure color, or the pure quality of the canvas surface as was the case during the Post-Painterly Abstraction movement.

While exploring the spatial, philosophical and abstract qualities of natural environments she reveals the uttermost beauty of both paint and nature.

With a selection of self - portraits, still - life paintings, and abstract compositions, the exhibition highlights Mitchell's gradual transition between working with realistic representation to an increased passion for painting's formal qualities.

Being open ended, the phrases did not convey a clear message but rather gave food for thought to the viewer which gave them a highly contemplative and poetic quality, which merges this body of work into the more abstract future series of paintings that the current lot belongs to.

The abstract, graphic quality of these images refers directly and surprisingly to both artists's paintings and textiles.

Concrete Alphabets is a group exhibition that brings together 6 contemporary artists working in the medium of analog painting, all of whom concentrate on the material qualities of letterbased work from gestural, abstract, calligraphic, hieroglyphic, and more.

It was also the exhibition that confirmed Richter's status as one of the leading artists in the world, and was described by Storr in his introduction as «long overdue» in the United States.2 In 2003 Richter embarked on a small but substantially sized series of paintings entitled Silicate [CR: 885/1 -4] inspired by an article in the Frankfurter Allgemeine Zeitung from 12 March 2003 about the shimmering qualities of certain insects» bodies.3 The resulting four large paintings are perhaps the most overtly biological of the abstract works in Richter's oeuvre, suggestive of cell formations and genetic sequences seen under the microscope.

The abstract form of Schneider's paintings and their distinctive material quality - fluid media on a nylon laminate that she devised - cancel most of her subject's picturesque qualities.

Schutz presents a closely cropped and abstracted overhead view that uses the visceral quality of oil paint and a projecting surface to draw attention to Till's mutilated face.

Richter has also produced a number of paintings with abstract qualities based on photographs, including Abtraktes Bild (Haut)(Abstract Painting (Skin), 2004.

It's the most abstract of all art expression» The paintings by Hugonin and Martin share many qualities: they operate with a kind of interior musicality and balance their apparent precision and control with a fragility that suggests a very human touch.

Gilliam makes paint luminous, combining myriad finishes and pigments with sophisticated color transitions, mimicking the qualities of light and shadow within an abstract composition.

Concrete Alphabets is a group exhibition that brings together 6 contemporary artists working in the medium of analog painting, all of whom concentrate on the material qualities of letter - based work from gestural, abstract, calligraphic, hieroglyphic, and more.

But as in most of Mr. Lüpertz's canvases, reference is usually subsumed, even overwhelmed, by the paintings» abstract qualities.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

The works on paper are attempts to bring some of the qualities of Devine's earlier abstract paintings into a kind of three - dimensional reality.

The investigation of the 20th - century abstract artists has shown us that the qualities of line and shape, proportion, and color convey a meaning without the use of words, and without the the narrative quality of the traditional painting.

There is, in van Velde's work, a quality of indecision and incompleteness, of being improvised rather than planned, of being left in a transitional stage, in other words, of Provisionalism — as defined by Raphaël Rubinstein in his now famed article from 2009 — which makes it relevant to today's state of affairs in abstract painting as well as to the young painters loosely grouped under the name of New Casualists.

«The sheer number of women who currently practice abstract painting and the undeniable quality of work being produced, force me to consider what abstract painting has to do with modernism, history and feminism.»