Sentences with phrase «almost abstract work»

Very bright and almost overwhelming, this is an awesome and almost abstract work that is highly decorative and shows the artist at the top of his form.

Ed Vaizey, the culture minister, placed a temporary export bar on the almost abstract work, called Femme.

The unusual vibrant colors and patterns in these almost abstract works are natural results produced by the camera through available light, selected camera angles, shifting wind patterns on the water and in the foliage, refracted reflections on the water surface, cropping / zooming for close ups, and fast shutter speeds.

From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright, figurative paintings of Brazilian modernists such as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.

Not exact matches

Moreover, the work contains an extended argument with the «classical» neurology of Hughlings Jackson and Kurt Goldstein, who, according to Sacks, maintained that «the mind, man's glory, lies wholly in the abstract and categorical, and the effect of brain damage... is to cast him out of this high realm into the almost subhuman swamplands of the concrete.»

Tokyo Police Club's signature sound, the niche that they carved out for themselves in a constantly fluctuating music scene (an emphasis on rhythm and abstract, maze - like lyrics with real emotion at their center) is almost completely gone, replaced by a rabid pop sensibility that sometimes works and sometimes really, really doesn't.

Thesis abstract should be written when the work is almost completed.

There are important works in the permanent collection (almost always on view) by Mondrian, Chagall, Picasso, and Warhol, as well as a large number of abstract paintings by Makevich, which are well - worth seeing if you have an interest in Russian avant - garde.

«Though I've ranged from Alaska to New York, the influence of those years spent on Padaro Lane has figured into the abstract and representational work I've made over the years in almost every way.

Charity Malin, an abstract and minimalist artist working almost exclusively with found textiles, says that having an audience and a deadline aids her artistic process.

Art fairs are often associated with abstract painting (much of it looking the same), stunt pieces (almost instantly forgettable), and neon sculptures (brightly and, in many cases, annoying), but, at this year's Armory Show in New York, some galleries had on offer works that explicitly addressed the political situation in the United States.

But that may be about to change thanks to the Royal Academy of Arts (RA) which has launched the first major survey of Diebenkorn's figurative and abstract works in the UK in almost 25 years.

Ranging from almost pocket - sized painting to the attention demanding large - scale, 60 x 62 inch canvases, Yossifor's abstract, gestural paintings show thickly applied paint, worked across the canvas in sometimes long, sometimes short strokes.

Rumney made a series of gilded abstract works around 1959 - 60, and claimed to have instructed Klein in techniques of gold - leaf gilding, although in fact Klein had been taught to gild by a framer almost a decade before — gold leaf being an apt medium for Klein, who was attracted to both its precious and symbolic connotations.

Working up the surfaces of her large canvases into almost a fetishized frenzy, the paintings are abstract, yet indicative of movement.

With almost 40 works, this exhibition proposes a complete view of the artist's aesthetic development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest abstract paintings of the 90's after going through the abstract expressionist stage that became so relevant in the United States during the 40s and 50s.

These included: Mark Rothko, Philip Guston («Philip would say again and again — as if he had never said it before — that everything in a work of his had to be «felt»»), Franz Kline (he «held court at the Cedar Street Tavern almost every night after ten»), David Smith, Tony Smith, Robert Motherwell, Ad Reinhardt, Jackson Pollock, Barnett Newman, Hans Hofman («I always admired Hans» painting and believe that certain of his pictures — Lava and Agrigento come to mind — must be numbered among the greatest abstract expressionist canvases»), Willem de Kooning, and Clyfford Still («as a de Kooning man, it took me time to appreciate Still's innovation»).

The abstract image revealed no concrete forms, but I felt the impact of the intense tone almost as if the work was vibrating in front of me.

It was awarded for his studio - based abstract and conceptual work, which he continued to pursue for almost a decade.

Sanín's work has been a part of the NMWA collection for almost three decades, but this is the first time the museum has dedicated a show exclusively to a geometric abstract artist.

With 53 of the show's artists - almost as many as Bonami included in his entire biennial - her overstuffed fraction included numerous women working in abstract painting or fabric, notably a knockout Sheila Hicks tower that was, hands down, the best work in the show (Pillar of Inquiry / Supple Column, 2013 - 14).

This work almost got lost among the innumerable abstract canvases, mid-century furniture, pretty ceramic vases, and various representations of flora and fauna.

While a more recent piece, «Three Sails» (2009 - 2010), can come off as schematic, the latest work in the show, «Bill's Pickering» (2012), is entirely organic and almost totally abstract, with a bright orange field that bores into your retinas as swipes of yellow - green and maroon swim through the light and heat.

«Philip drew continuously almost from the moment he saw the Herriman strips as a child but he was pretty cut off in the late Sixties when Crumb's work appeared,» insists his dealer and long - time friend David McKee, «By then, Guston was locked away in his breeze block studio in Woodstock doing these minimal drawings of the things around him - clocks, shoes, books - that were both figurative and abstract.

These «details» are matched with a black and white Hollywood film still that Baldessari has illuminated and illustrated with pops of primary coloured shapes and figures, mirroring and creating a strong visual link with the almost abstract and strongly coloured compositions of the Miró works below.

With the exception of a few clusters of clearly delineated geometric form, this large, cosmic picture comprises almost entirely of a rich, heavily - worked, and seemingly abstract painted surface.

If the works were purely abstract they would be about, perhaps, how to «draw with color» and after viewing the series of similar faces they do become almost abstracted; however, the lure of the face with its hypnotic, spiraling irises always persists, challenging our emotional responses:

Hueller's work, while almost abstract, plays with three - dimensionality, figurative elements and shapes and forms derived from such diverse influences as surrealism and die Brücke.

With a lifelong interest in film, often returning to the work of filmmakers such as Derek Jarman and Rainer Werner Fassbinder, Eisler's paintings range in subject matter from representational (as seen in «Margit» (2013), depicting an isolated facial crop of German actress Margit Carstensen in Fassbinder's 1973 TV - movie World on a Wire) to abstract (as in «Headlights» (2015), sourced from Amos Poe's 1984 film Alphabet City, in which a car is almost completely obscured by the shine of its high beams).

Entitled Drip, Drape, Draft, the show presents works by Robert Davis, a close friend of Johnson for more than a decade; Angel Otero, who he has known for some six years; and Sam Gilliam, an older artist from what Johnson refers to as «an almost lost generation of black abstract painters», with whom he recently struck up a mutually significant friendship.

Schnabel used abstract expressionism as one point of departure for his own work and almost singlehandedly brought expressionist painting back into the fore earlier in his career.

The literal references, instead of detracting from the overall body of work, grow into the conceptual almost fluidly as they move into more abstract works.

Max Maslansky is the Los Angeles - based artist who paints these acrylic works in an almost abstract - like quality, inspired by vintage pornography stills from the late»70s and early»80s.

These new works include several of Osborne's abstracted, almost calligraphic, landscapes.

Abstract painting, and to some extent abstract sculpture, is favored in museums and auctions — almost suddenly — an improbable rethinking of this contemplative and soulful work that fell out of favor during the noisy and long - running show known as post-Modernism.

He worked almost exclusively in wood, fashioning abstract sculptures with axes and chainsaws.

It seems almost unimaginable that the sparse, abstract works on show here were made by an artist known for canvases heaving under dense layers of paint.

Within an oeuvre that has sought to redefine the nature of flat art through a variety of media, these abstract works are complex in their materiality, caught somewhere between painting and printing whilst simultaneously confronting the viewer as ornamental, almost architectural constructs.

She further explains that his various series are interrelated because the artist needs them all, each one informing the rest: «He enjoys having bodies of work that he can go to almost to clear his head, after the hard work, and the very messy work, of making these abstract paintings.»

Rehistoricizing.org presents the work of women artists and artists of color from varied ethnic and cultural backgrounds who worked in a «pre post — race» environment, an era in which the artist hero was almost always a white male, in particular among abstract expressionists.

The Rehistoricizing Exhibition at the Luggage Store gallery presented the work of women artists and artists of color from varied ethnic and cultural backgrounds who worked in a» pre post — race» environment, an era in which the artist hero was almost always a white male, in particular among abstract expressionists.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

This almost narrative - like exhibition plan can be seen as one that moves from the beginning cubist abstraction into a gallery surveying sensitive, almost impressionist abstract works by the artists like Georgia O'Keeffe.

Although known for his minimalist and abstract works, Imi Knoebel always takes as further, and almost as a prophet introduce us with the most pressing and fundamental questions of painting and the visual arts in general.

Over a period of approximately ten or twelve years, between the early 1960s and the early 1970s he produced work of tremendous ambition and audacity, with an impact that is almost palpable, and that should finally prompt a posthumous recognition that he is a modern British master — one of the great abstract painters of the 20th century.

This year's exhibition, «Renoir: Between Bohemia and Bourgeoisie: The Early Years» completely changed by opinion on Renoir, a painter whom I had previously deemed a bit too pink, saccharine and nostalgic for me surprisingly did some of his best work from the mid 1860s to the early 1870s, including a stunning Japonais Still Life with Bouquet and almost abstracted, breathing landscape L'Allée au Bois.

Her large - scale, bold and colourful abstract works could not seem further from the pale, stormy and subtle paintings by Turner, who was working within the landscape painting tradition almost a century earlier, but the two artists share a connection in their attraction to landscape and nature.

The modernist abstract tradition where the words «big» and «abstract» belong together has clear resonance with Morris» work, yet in these little paintings she almost turns the theory of colour - field abstraction on its head.»

Piseno writes: «Ranging widely from densely textured works on canvas formed with layers of an acrylic and pumice mixture on top of silicon molds to abstract representations of the native olive and cedar trees of Lebanon, Nahas's work consistently oscillates between many aesthetic sensibilities, ultimately driven by his almost religious passion for abstraction.»

It concentrates on black and white graphite works from the artist's early, almost abstract «afro heads,» to his intertwined figures, and on watercolors.