Sentences with phrase «as abstract painting in»

His style can be defined as abstract painting in which there is no subject, only shapes and colors.

I don't think of them as abstract paintings in the landscape, I think of bringing color to the landscape and making marks that would be gestures in relation to the space around me.

Not exact matches

In addition to pieces of ochre that appear to have been engraved — the oldest such abstract art in the world — archaeologists have found tool kits that included abalone shells used as containers to mix ochre with crushed bone, charcoal, quartz and other material to make painIn addition to pieces of ochre that appear to have been engraved — the oldest such abstract art in the world — archaeologists have found tool kits that included abalone shells used as containers to mix ochre with crushed bone, charcoal, quartz and other material to make painin the world — archaeologists have found tool kits that included abalone shells used as containers to mix ochre with crushed bone, charcoal, quartz and other material to make paint.

The front features a pastel abstract painting of sorts that is particularly lovely when paired in contrast against the more bold and graphic design of the bottoms, as modeled on the webpage.

Characteristic for his position in American art in the 1940 - 50's was that De Kooning had an abstract, as well as a representational side in his painting art and both were present and visible.

Illustrated with a mix of portrait photos and a few paintings in childlike or abstract styles, and capped by suggestions for related classroom activities and a short resource list, this book will serve as both an effective consciousness raiser for middle - grade students and a strong lead - in to Deborah Ellis» powerful Children of War: Voices of Iraqi Refugees (2009).

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.

BP: I also heard a story that when John Currin was a grad student at Yale, you went as a visiting artist and, during the studio critiques, you told him that his work (he was making abstract paintings at the time) had something hard to find in painting: they had poverty.

In 1965 he painted thin plywood reliefs, with stretched canvas as surface, and three years ago he used plywood, minus canvas, with a painted abstract surface.

Tons of paintings both oil, & acrylic, abstract, landscapes, sculptures in stone, cement, polymer clay, 3D canvas art, rock sculptures, fairies, fairy house lamps and stash jars, as well as handcrafted soaps, lotions, candles, bath salts to die for and it's all natural ingredients!!

Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

3 Clyfford Still painted a traditional portrait of his mother (PH - 420) in 1946, the same year as his breakthrough exhibition of completely abstract paintings at Peggy Guggenheim's Art of this Century Gallery.

Abstracting her natural surroundings — from the plantings in her own yard to the vast displays at the nearby U.S. National Arboretum — Thomas painted flower beds and gardens, horticultural landscapes as if they were being viewed from an aerial perspective.

As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintinAs a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric paintinas a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard - edged abstract, geometric painting.

In his abstract expressionism, each canvas is filled edge to edge with grand strokes, creating a simplistic portrait with a deeper texture, as the dry paint occasionally adds a physical dimension to what can be considered a flat surface.

As his work has developed over four decades he has created an enormous variety of series of abstract paintings in an articulate, elegant and personal language.

These elements are found in his earlier, more formal, abstract work as well as in his recent subtle landscape paintings.

Brooklyn - born painter Walter Price stands out as particularly impressive in this context, with a selection of small skewed and abstracted figure - in - landscape paintings.

In his paintings he reflected abstract - minimalist trends in 20th century art as were manifest, say, in the Russian avant - garde, American color field painting or Minimal ArIn his paintings he reflected abstract - minimalist trends in 20th century art as were manifest, say, in the Russian avant - garde, American color field painting or Minimal Arin 20th century art as were manifest, say, in the Russian avant - garde, American color field painting or Minimal Arin the Russian avant - garde, American color field painting or Minimal Art.

Behind the black gate was a world of color, hundreds of abstract works created and hidden away by Mr. Bates, who had a promising start as a painter in the 1970s before renouncing the art world and retreating to his storefront to paint.

In addition to her widely popular Infinity Rooms, such as LOVE IS CALLING, Kusama creates vibrant paintings, works on paper, and sculpture with abstract imagery.

Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard - edge painting, Geometric abstraction, Minimalism, and Color Field.

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

The Chicago - based artist is expanding upon his series of abstract DNA paintings, a group of works in which he embeds copies of his most personal documents such as his birth certificate.

Forty - five years of abstract color painting, defined rather reductively by Phillips as stain painting, is inadequately represented by four lonely works, that span a mere six - year period: Helen Frankenthaler's Mountains and Sea, (1952), Sam Francis's, Black in Red, (1953), Morris Louis's Iris, (1954) and Kenneth Noland's Song, (1958).

The light in the paintings acts as phenomenon, and at the same time the abstract color creates an experience of light and place.

In abstract painting one can't deal with a kind of entity, entity like an object or person, a concentration of psychology which a person is as opposed to what, where the figure isn't in the paintinIn abstract painting one can't deal with a kind of entity, entity like an object or person, a concentration of psychology which a person is as opposed to what, where the figure isn't in the paintinin the painting.

As he told the MoMA curator William Rubin in 1969: «My main interest has been to make what is popularly called decorative painting» — decorative being the ultimate insult in western modernism, though no bad thing in other traditions — «truly viable in unequivocal abstract terms».

The results alternately emphasized or suppressed traces of the artist's hand and, as Museum director James Steward notes, «afford the viewer a remarkable opportunity to simply revel in the sheer beauty and freedom of abstract painting.»

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

In her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effecIn her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effecin their atmospheric effect.

KAWS redrew his sketches in Adobe Illustrator — «Frankenstein» - ing them together, as he commented in a recent ARTINFO interview, into deliriously complex, abstract arrangements — and projected the results onto canvas before painting them.

His earlier works, produced in the 1980's, were signature Day - Glo, hard - edged paintings that acted as metaphors for the way in which social spaces have become delineated within the proliferating abstract nature of the technological world we now live in - as prisons or cells.

As an abstract expressionist, West often used hard edged and bold brushstrokes in her paintings.

In Liliane Tomasko's latest abstract paintings her examination of domesticity, such as the unmade bed, has become more urgent and fragmented, perhaps in accordance with the timeIn Liliane Tomasko's latest abstract paintings her examination of domesticity, such as the unmade bed, has become more urgent and fragmented, perhaps in accordance with the timein accordance with the times.

Of the dozen or so paintings of Ryder's in the 1913 Armory Show it was said by critic Charles Caffin: In his unobtrusive sincerity he, in fact, anticipated that abstract expression toward which painting is returning and may almost be said to take his place as an old master in the modern movemenin the 1913 Armory Show it was said by critic Charles Caffin: In his unobtrusive sincerity he, in fact, anticipated that abstract expression toward which painting is returning and may almost be said to take his place as an old master in the modern movemenIn his unobtrusive sincerity he, in fact, anticipated that abstract expression toward which painting is returning and may almost be said to take his place as an old master in the modern movemenin fact, anticipated that abstract expression toward which painting is returning and may almost be said to take his place as an old master in the modern movemenin the modern movement.

But in her work, and that of other abstract painters I've mentioned, the issue of whether there is anything already in such paintings, as opposed to what we might «read» into them, is often raised.

It's a taboo that goes all the way back to Georgia O'Keefe, who gave up trying to beat down that door in the early 20th century when her radically abstract, viscous paintings were described as «great painful, ecstatic climaxes,» «an outpouring of sexual juices,» «loamy hungers of the flesh,» «the very essence of woman as Life Giver.»

As their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new BraziAs their hometown metastasized and Brasília started to rise, São Paulo artists such as Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazias Geraldo de Barros and Luiz Sacilotto painted totally abstract compositions — spiraling curlicues in the former's case, cascading black - and - white stripes in the latter's — that aimed to give form to the utopian dreams of a new Brazil.

Just as the Suprematist paintings anticipate most developments in abstract painting throughout the rest of the twentieth century, so these startling medleys of words and images anticipate much of subsequent conceptual art.

This November, VMFA presents a groundbreaking exhibition that examines how Johns mined Munch's work in the late 1970s and early 1980s as he moved away from abstract painting towards a more open expression of love, sex, loss, and death.

His most recent works come in a variety of mediums, including a mix of calligraphic and abstract paintings, as well as landscape photography.

Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx look.

Painted in 1966, this majestic painting anticipates at once his large scale photo - paintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tpaintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tPaintings) from the 1970s.

This marriage of the abstract and the socio - political is most evident in her third large painting, «Melting Down,» in which the forms of the painting itself seem to be pulled down, constricted to a point of release that expresses itself in appearing as the painting's entrails poured out onto the floor.

Steeped in Hofmann's modernist theories, Kahn nonetheless developed a style of landscape painting that owes as much to the impressionists as it does to abstract expressionism.

«Among the wildly disparate features of today's art - world landscape, two modes of pictorial thought with venerable lineages have recently re-emerged: materials - oriented abstract painting, and a linear approach to the investigation of the third dimension that may conveniently be referred to as «drawing in space.»

Housed in the Empire State Plaza's underground Concourse gallery, this sprawling bunker of generic hard - edged abstract painting and minimal sculpture was regarded by students and faculty alike as something of an embarrassment of riches, the last vestiges of overblown Greenbergian dictates on advanced art.

«In that first painting, I was wrestling with what I originally thought of as the coldness of Minimalism and the more emotional, abstract expressionist painting style I'd grown up with.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.