Sentences with phrase «against painted shaped»

This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.

East & West Galleries: Toronto Wall Drawings This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.

Not exact matches

I've added more tonal value in the paint this time, so therefore you'll notice somewhat less pen work, as less is needed to emphasise darker values or define one shape against another.

Most often in shaped painting it feels the other way around, the marks just bounce against a predetermined area or succumb to it as a kind of mould.

Displayed against the strong geometric lines and shapes of Zhang Ruyi's «Darkness» (2015), a mixed - media series on paper, one realizes how similar all these works are to the structural paintings of curator - artist Liu Wei's own «Purple Air» series (2006 ---RRB-.

In each painting Hippenstiel finds a different way to play off the massive shape against the delimiting edges of the support.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

In another series, the chevrons became diamonds, his first shaped paintings (1964 - 69), by the simple device of butting one set of chevrons upside down against another, forming a tricky squarish picture hung on the diagonal.

His esteemed intellect not only undergirded his gorgeous, expressive paintings — frequently featuring bold black shapes against fields of color — but also made Motherwell one of the leading writers, theorists, and advocates of the New York School.

The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract paintings, sculptures and installations.

In Bischoff's earliest non-representational paintings the abstract shapes are large, still deriving from figures against a background; gradually, the shapes have become smaller and more fragmented.

In «Shadow» (2013), a Gustonesque large pale shape is being dragged into shadow against its will, even as a dark bar of paint assaults the shape at the top of the picture plane.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

Instead of gnarled trees beaten by the elements he exploited frayed, exuberant shapes against roughly painted backgrounds.

He exhibited «New Paintings» at the Terrain in 1965, and «Shaped Optical Paintings» in 1966, and in 1967 was one of 100 artists taking part in the Terrain's exhibition, «All Art Is for Life & Against the War in Vietnam» [1], a benefit to aid napalm - burned children.

In «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgrounds.

Paintings such as Candle - lit Dinner beautifully conveyed the atmosphere of the subject through the witty interplay of bulbous lights and fat, curving lines, bright monochromatism and lilting shade, the precision of the chicken set against a childlike background of big shapes, overlapping, drawing the eye of the viewer upwards and down and into the picture despite its perverse perspective.

The brightly colored, hard - edge dots and lozenge shapes that Larry Poons painted in the early 1960s, against expansive, monochrome grounds of contrasting tones, appear to dance on the surface, flicker and bounce, in primal rhythmic beats.

Rhia Hurt's series pushes against our expectations of color field painting by creating uniquely shaped modular surfaces that combine conventions of sculpture and painting.

Mintz writes that Piotrowski's works «approach the possibility of narrative, though the artist deftly pulls back just in time» Conefry, Mintz notes, investigates «painting as object, something constructed and assembled,» while in Cohen's paintings «organic shapes lean against geometrics to create a push - pull of color and form.»

Likewise is the Kenneth Price area of fanciful shapes of glazed earthenware / painted stoneware set against the backdrop of a Josef Albers painting on one wall (for color reasons) and Edward Ruscha's work on another (for the fact he was Price's friend).

In the late 1960s, he began making oil - on - linen paintings on distinctive saddle - like stretchers, at once concave and convex, featuring one or two biomorphic shapes against differently colored backgrounds.

In these paintings, boldly colored shapes are juxtaposed against a textured and heavily worked white / grey / putty background — a technique that can be traced back to Rothenberg's radical Horse Paintings of tpaintings, boldly colored shapes are juxtaposed against a textured and heavily worked white / grey / putty background — a technique that can be traced back to Rothenberg's radical Horse Paintings of tPaintings of the 1970s.

Her oeuvre is exemplified by vivid colors, geometric shapes, hard edge lines, and curved, gestural marks painted against white backgrounds.

The Harlem Renaissance, with its celebration of African American music, art, literature and history, was in full force, as paintings such as William H. Johnson's vibrantly coloured Street Life, Harlem (1939) and Arthur Dove's Swing Music (Louis Armstrong)(1938, below) suggest, while the latter also reflects the rising force of abstraction, its irregular shapes in varying reds and yellows against a deep black background evoking «red hot» jazz in a darkened space.

Balcomb Greene's pure geometric style of juxtaposing hard edge shapes and lines against planes of color made the 1930s one of the most important periods in American painting, thus leading the way for the Abstract Expressionist painters who followed in the 1950s.

A seemingly disorderly pile of box - like coloured shapes, flatly rendered in a shallow pictorial space, are featured against a painted grey ground.

Other paintings such as Rousseau Giving Love and Lions consist of monochromatic colors such as light green stripes that are horizontal on the bottom and form a curved arch shape at the top, against a black background.

Over the four past decades, the vast majority of Gorchov's paintings contains identical elements — two biomorphic shapes against a monochromatic background on saddle - like stretchers, at once concave and convex — with variations running from nuanced inflections to stark contrasts.

Using fabric - dying techniques rather than brushed paint, Gruzis has layered these medium - sized paintings with nesting frame shapes, or splayed radiating lines across the paintings» surfaces against tie - dye patterns in smoky purples, blues, and icy grays.

For the 0,10 exhibit, Malevich created paintings that completely obliterated all references to the recognizable world and focused instead on the inherent relationships of geometric shapes of various colors that seem to float against their white background — floating so free, it would seem, that the paintings did not warrant a frame.

Some of the shapes resonate organic, vegetal motifs, annular forms with a visceral consistency of thick paint played against thin, as in «Catalunya» (2008).

In this show, for example, a painting of the Union Carbide logo — the American company responsible the catastrophic 1984 Bhopal Gas Tragedy, widely considered the world's worst industrial disaster — continues over two shaped canvases, propped against one another so the subject and source are initially obscure.

And now the two paintings, Krasner's rectangular composition on pressed wood consisting of white glyphs painted in boxes of muted colors, and Lewis» black, white and brightly colored shapes and lines set against a blue background, are together again in a new exhibit at the museum.

On display are six small, glittering silver casts, outlining the shape of haphazardly placed globules of paint against a perfectly flat and reflective surface.

Made of newspaper, rolled up and glued, then painted black to give the dried, tube - shaped material some rigidity, these straight or curly pieces were also scattered around a column in the gallery, or placed upright, leaning against a window.

It was a realization that would lead him to a radical stance against «the ad - hoc acceptance of the rectangle,» a position not unrelated to the liberation strategies sought by a number of artists at that time, such as Frank Stella and his shaped paintings.