Sentences with phrase «almost square paintings»

Taking in the small, almost square paintings, I intuited the game, thinking to myself, I see the visual references to Sol Lewitt, to Jackson Pollock, to Robert Rauschenberg, Jaspers Johns, Donald Judd, and Barnett Newman — the heroic modernists, at least in the canonical version still taught in freshman art history courses.

Not exact matches

With a square - shaped pastiche (Cronenberg never uses cinemascope) he paints with an almost silent film - like nerve, as if the great F.W. Murnau himself were guiding his hand.

Gerhard Richter initially produced one large - scale painting on one canvas, which he later cut into nine almost identically square pieces.

The rest are reduced to an «installation view» of wall - hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont «s concurrent L'Age D'or exhibition next door comes in two square concrete «chairs», designed for the almost empty garage cubicles outside.

In much the same way, the structural ambiance of Stephanie London's Mid-Century Rose (oil on linen, 2014) would seem to owe almost as much to Joseph Alber's Homage to the Square series as it does to traditional horticultural painting.

And in Harran, you can almost imagine these interlacing colored circles rolling through these static squares that are positioned all along the painting.

Among the least assuming, yet most challenging paintings is «Catalyst III,» from 1985, a small work of anodized aluminum, nearly two feet square, that seems almost machine - made.

He stepped in off the High Street and there they were: vast paintings, some almost 100ft square, hanging so dense and close they filled the cavernous space with their mysterious radiance.

A recent picture confirms the classic Ryman cliche: It's a white - primed canvas, 14 inches by 14, with a glossy white square painted on top reaching almost to its edges.

Indeed, his «Night Square» painting of 1951 with white, squiggly lines against a black background, not included in the show, was a two - dimensional stylistic precursor of the late almost 3 - dimensional works A run through the museum's other galleries after viewing the exhibition comes as a shock as few of de Kooning's fellow Abstract Expressionists seem to be in the same league as the paintings here.

Some of his best works are on his smaller square canvases, including Burial at Sea, where a dark ship on fire is so expertly painted that you can almost feel the heat when you stand near it.

There is also a lot of strong monochromatic painting, by artists like Marcia Hafif (a small, bright, handsome, yellow enamel square), Olivier Mosset (a small off - white square, typically flat and deadpan), Kathy Drasher (a warm, peachy decagon with a poetic bit of text) and Daniel Levine (another square, this one an ethereal, almost glowing, white).

Upon exiting the Giorgio Morandi exhibition at the Center for Italian Modern Art last November, Dutch artist Jan Dibbets returned to one of Morandi's late paintings, an almost - square, beige - on - beige Still Life, 1963, and murmured: «This is the perfection of what Morandi pursued over 50 years!»

By taking a square and dividing it this way, Whitney establishes a tension between the container and its interior, which he further heightens by filling the bands edge to edge with endearingly painted, almost lopsided vertical or horizontal rectangles, each a single color, that shift in scale and number of rectangles from one band to another.

Until the mid-1950s, her paintings were almost wholly representational, but thereafter she turned to abstract art and within a decade had discovered her signature style - a square monochrome canvas, typically layered with gesso, overlaid with hand - drawn pencil lines and thin layers of oil or acrylic paint.

Stanley Whitney adheres to self - imposed constraint — for almost 30 years, painting compositions of vibrant color squares and rectangles set edge - to - edge between horizontal bands.

He indeed passed by three small paintings, walked by an 80 square metre painted canvas, almost ignoring a 2 x 2 meters painting and going straight towards the seven birds perching on their painted terracotta shelters.

By 1957, when he was in his later 20s, Robert Ryman had established a distinctive signature mode for his paintings: he limited his format primarily to the square and his palette almost exclusively to white (though the natural color of the supports and, after 1976, of the supports» fasteners provided counterpoint to the white, and though the whites themselves varied).

After kicking off with a gallery containing a small masterpiece in poured metallic paints by Jackson Pollock, a Barnett Newman, and an early Rothko, the next, almost perfect room includes Anni Albers's woolen tapestry, «In Orbit,» alongside her husband Josef Albers's «Homage to the Square (Yellow Echo).»

German artist Katharina Grosse (born 1961) has created a spectacular walk - in installation, measuring almost 800 square meters, in the hall of the Museum Kunstpalast, using large quantities of soiland panels of fabric, as well as massive paintings.

She was a lifesaver when I was on the edge of insanity & I almost just painted a small square end table.

My bedroom has had various color squares painted on the since before my daughter was born (when I was preggo and indecisive)... she is now almost 3!