Sentences with phrase «art illusionism»

Not exact matches

Such is the chief delight, and paradox, of the show: both strains of early American still - life — Audubon's scientific realism and Peale's painterly illusionism — seem, in the context of western art history, less like «art» and more like «history.»

Illusionism in 20th - century art is explored in works based on color theory and in Op art that confounds perception.

Illusionism may be an integral component of the art of painting, but when it's put forth as style — denatured, slick, and wholly self - referential — it can make for vacuous going.

During the mid-1970s, Abstract Illusionism — a showy amalgam of The New York School, Pop Art, commercial illustration, and trompe - l'oeil painting — was, if not the rage, then notable enough to elicit its fair share of adherents and collectors.

«That gets rid of the problem of illusionism and of literal space, space in and around marks and colors — which is the riddance of one of the salient and most objectionable relics of European art.

Minimalism's proponents, including Donald Judd, Dan Flavin and Carl Andre, had themselves learnt much from the use of real space and light and the rejection of picture - plane illusionism in Fontana's art.

«In a 50 - year career, James Havard has painted in many styles, from realism to trompe l'oeil «abstract illusionism» to multimedia collage to his current mode, which recalls art brut.

The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.

«By shifting the public's gaze to stylistically creative black Americans and picturing them under the fused tenets of painterly illusionism and post-Pop portraiture, Barkley L. Hendricks radically transformed modern art.

This includes paint (another tool at her disposal); Color Field painting; the brushstroke, squiggle, and line; Chinese and Japanese art; Indian miniatures; abstraction; figuration; abstract illusionism; inspirational posters; children's book illustrations; greetings cards; thrift store merchandise; wheels from bicycles, go carts, and strollers; buttons; embroidery and appliqué; mythology; essays on other artists.

In New York in the 1960s, Judd was among the first in a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materials.

In 1967, she went so far as to write a letter to Artforum, challenging Judd and Morris for asserting that sculpture was the preferred art form for resisting illusionism and the «death of painting.»

7 In actuality, however, Rauschenberg played a bit more daringly with the spatial effects engendered by photography, pressing photographs (and fine art reproductions) into service as markers of perspectival illusionism so as to pit them against the Combines» otherwise flatbed expanses (not unlike the manner in which he utilized the actual openings he sometimes incorporated into such works).

Much of early modern art was concerned with representation and how to reconcile art's illusionism with its real object status (think of René Magritte's Ceci n'est pas une pipe from 1929).

He wanted the viewer to be cleansed of the usual preoccupations of a work of art, «of falsely climactic emphases, of susceptibility to tricks of illusionism, and of the restless drive to penetrate behind «mere» appearances».

as a departure point, Ikon's exhibition explores Flavin's straightforward rejection of illusionism whilst asserting the importance of the context of artistic experience over art for art's sake.

Ernst Gombrich influentially argued that figurative art progresses thanks to progress in illusionism.

In 1964, Judd wrote Specific Objects, an essay (truly manifesto - like), through which he called for the rejection of the residual, European value of illusionism and advocating an art based upon tangible materials.

Turning its back on illusionism and allegory, this kind of art attempts to define its own universe of meanings, and in the polemical act of purifying itself from extraneously derived languages and imageries, aspires to ineffability.»

Maychack studied art in the San Francisco Bay Area, and absorbed its traditions of assemblage, trompe - l'oeil illusionism and personal mythology; but also the post-minimalist interest in imbuing emotion and presence into abstract structures; he cites the personal, idiosyncratic work of Jessica Stockholder and Martin Puryear as major influences.

A new exhibition at the Whitney Museum of American Art is rescuing the panorama from the historic abyss, and revalorizing its intoxicating technological illusionism with an installation by artist T. J. Wilcox.

A new exhibition at the Whitney Museum of American Art is rescuing the panorama from the historic abyss, revalorizing its intoxicating technological illusionism.

As an artist writing about art, Judd demonstrated that art could be seen solely as physical and material fact, arguing against the long European tradition of illusionism.

Christopher Flower draws from a variety of sources in his practice: conceptual art, illusionism, do - it - yourself invention, and the everyday.

(Maastricht, Netherlands) The theme of illusionism in art guides «Illusion and Revelation», group show on view in the Bonnefantenmuseum Maastricht since December last year.

Rejecting the illusionism of painting and seeking an aesthetic freed from metaphorical associations, Judd sought to explore the relationship between art object, viewer and surrounding space with his so - called «specific objects.»

His multi-disciplinary art practice draws from a variety of sources: conceptual art, illusionism, do - it - yourself invention, and...

But this kind of realism which depends also a lot on illusionism, is, of course, evanescent, frail and difficult to establish» (see exhibition catalogue, Howard Hodgkin: Forty Paintings: 1973 - 84, London, British Council, Whitechapel Art Gallery, 1984, p. 97).

By refusing to adopt the «old values» of traditional art and asserting the flatness and objectivity of the canvas he was not rejecting completely the energetic brushstrokes of Abstract Expressionism, as is often suggested, but insisting on the development of the overall surface without relying on the illusionism that comes from the visual brushstrokes or the sense of depth that the inclusion of color might imply.

He paired down his art to its limits, stripping away anything he considered extraneous to its self - sufficient identity as an art object: no illusionism, no allusions to emotion or metaphor, no conventional aesthetic or composition judgment.

The art historian Dore Ashton has written of the «colonizing emptiness» of her images, and indeed, Frankenthaler's best paintings have a complex illusionism that can make the viewer feel he's gazing into a deep, quiet space.