Sentences with phrase «as illusionistic»

Having started out as an illusionistic painter, in 1955 Soto participated in Le mouvement (The Movement) at Galerie Denise René, the exhibition that effectively launched Kinetic art.

The Romans developed a particular interest in landscape painting, especially as illusionistic wall decoration, and they promoted two major notions of landscape — the pastoral (the life of shepherds) and the Georgic...

The method is also described as illusionistic, since creators were making drawings based on the representational form that was suggesting itself.

Not exact matches

Her works are displayed as site - specific projections that amplify the architectural setting by blurring the boundary between real and illusionistic space.

As such, it is inherently representational and, arguably, inherently illusionistic.

The acrobatic wrist is gone, as is the illusionistic space.

These pictures read as both abstractions — dots on a flat canvas, and deep illusionistic paintings of the night sky.

By the late 1960s, as in works such as the frond - like Etude, 1969, Hantaï allows the primed, raw canvas to play a role equal to the painted sections, and is always at pains to keep illusionistic passages at bay.

Exploring how to force illusionistic space out of painting, Stella created the seminal Black Paintings, credited by some as reinventing Modernism and establishing the basis for Minimalism.

In her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendental.

What changed for Thiebaud in his landscapes of the 1990s and 2000s was the incorporation of Diebenkorn's sense for structure, with angled rays acting as both abstract lines of force and illusionistic lines of sight.

I tend to layer one element at a time, perhaps unconsciously as I make decisions, and those layers end up collapsing what would otherwise be illusionistic space.

Perceptually deceitful, or even illusionistic, solid material travels back and forth between sheer obscurity and physical presence: as with Kasten's photographic work, the scale and materiality are interchangeable and thus become co-dependent.

They are painted in a trompe l'oeil manner with the picture plane serving literally as a flat surface and these illusionistic images are cross referenced with their physically real counterparts strung throughout the gallery.

This exhibition consists of illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as abstract paintings.

Chapter's presentation will include eight new illusionistic graphite drawings depicting, as it would happen, frames.

«Dimensions Variable» also features the artist's hand - constructed frames, suggesting a threshold for the subjects of the paintings to come forward, into «real life», as they visually oscillate between the foreground and background of the illusionistic painting.

On view in PC — G's Reilly Gallery, this group exhibition consists of illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as abstract paintings.

More than 100 artists from over 35 countries will tear the roof off the sucker (or insert your preferred architecture - based P - Funk reference here), including at least one of Morgan's curatorial favourites: Urs Fischer will be re-creating his New York apartment at 1:1 scale, «replicating the interior walls through three - dimensionally illusionistic wallpaper», which will serve as a base for other artists» work.

Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella's rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

As perception and a layered reading of different spaces are simultaneously engaged, the artist's loose, free - flowing technique guides the viewer into the depths of illusionistic space.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

The tendency to regard illusionistic techniques, decorative details, and emotional qualities as distractions and to eliminate them for the sake of the material's integrity is evident in work by such artists as Donald Judd and Carl Andre.

In other pieces in the show, everyday objects such as books are transformed by applying to them the geometry of paper ornaments and minimalist sculpture (Minimal Bibliography), and photographed window fences with geometric designs are isolated from their functional environment by cutting the prints and flattening the illusionistic space of the photograph, thus relating those specific daily life situations with the idealistic language of modernist geometric abstraction (Popular Geometry).

The juxtaposition of disparate images with graphic renderings in an ambiguous, illusionistic space in Burns to Breathe (Got ta Have a Better Attitude)(2014, 40 x 38.5 inches) recalls the «inscapes» of Surrealist painter Roberto Sebastián Matta, who combined unexpected imagery with unconventional painting techniques to create fantastic landscapes intended as landscapes of the mind.

While artists such as Vija Celmins, Rudolf Stingel and Paul Sietsema employ illusionistic painting and drawing, others» use of materials is surprising — Thomas Demand's video of what appears to be a rainstorm is made from animated candy wrappers; Susan Collis» sculpture of construction debris is fashioned from exotic hardwoods, mother of pearl and silver.

A series of lithographs, like Pet Stains, 1990, hark back to Synthetic Cubism: puddles of black paint mark a stack of trompe l'oeil newspapers so as to create a tension between flat representation and illusionistic space.

Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device.

Indeed, as I slice my white perspective lines into the painstakingly crafted, illusionistic surface of the painting, I hear the question that is asked of me so often: «why do you have to ruin the landscape, it's so beautiful.»

If we adopt the screen then as the emblem of the contemporary optic, we presumably regard contemporary painting as somehow marking a return to a quasi-classical conception of its task as one of illusionistic affect... The intelligence lies in suggesting that materiality can persist as a key affective dimension of painting only if its terms are re-written... Recent paintings, like Michael Stubbs's work towards a diminished materiality, resulting in something more akin to the continuous surface associated with the varnished skin of an Old Master painting than to the opaque porosity of a Hofmann or Still.

The optically titillating large - scale paintings are made by applying layers of acrylic paint to a canvas in a pre-determined order, resulting in heavily - built surfaces that take on illusionistic depth as the tone scale varies.

Geometric symmetry was helpful to him because, as he put it, it «forces illusionistic space out of the painting at constant intervals by using a regulated pattern.»

Each of these paintings appears as a suspended four - paned window, literalizing the illusionistic «window on the world» offered by traditional, representational painting.

As New York painters were progressively rejecting illusionistic space and moving toward a more literal space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of painting in favor of sculptural space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow painting to evolve without losing the basic elements of its identity.

As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic.

It is here again that Walsh's painting by hand gives the works their particular feel, using the slight irregularity as an optical effect in itself, softer and fuzzier than a Bridget Riley Op painting, but more aggressively illusionistic than, say, a Rothko.

Opening: «Flatlands» at the Whitney Museum of American Art As part of the Whitney Museum's renewed commitment to be a «testing ground for new tendencies in art,» the group exhibition «Flatlands» offers illusionistic paintings by five emerging artists.

In his recent body of work New York native, Ben Grant, continues to push the boundaries of his process as he returns to the idea of illusionistic space.

As in the best Hodgkin paintings, a tension arises from the precarious balance of illusionistic space and the purely abstract, tactile richness of the surface.

Tracing the archaeology of the paintings in the sculptural formations that accrue on their edges creates a dynamic contrast between the illusionistic interior spaces opened up within the compositions and the frank materiality of the gesso boards as objects hanging on the wall.

Her newest works emphasize the ceiling as pictorial space, drawing inspiration from Renaissance and Baroque murals that made ceilings into illusionistic, mythological zones.

(It is worth noting that in 1967, around the same time that Plimack Mangold started doing the floor paintings, Al Held began working on his illusionistic black - and - white paintings, which have often been credited with, as Robert Storr recently put it in his catalogue essay, «muscl [ing] painting back into three dimensions without betraying its character as painting or his own long - standing commitment to the primacy of gesture.»

They neither function as windows on an illusionistic world, nor do they foster the absolute agreement of flat image and flat surface basic to, say, a Jasper Johns flag or target.

Avoiding illusionistic concerns such as depth or perspective, Moyer queers the color field, lending texture, seduction, and idiosyncrasy to the immateriality of plain sight.

Using an illusionistic and architectural approach, Chow's eight drawings recalled elements and narratives that one would encounter in everyday life, the unsettling factor of an elegance long forgotten, as if leaving the fair behind.

All the devices in Stella's new paintings are geared to make picture space feel as if it bites into real space, without using illusionistic depth.

Throughout his long career, Stella has used color, surface texture, and space to create dichotomies in his work, adeptly playing with real space as opposed to illusionistic space.

These repeated interpretations contain a sense of intimacy with her subjects, and this familiarity has allowed her to move beyond the detail - oriented and illusionistic aspects of her earlier subjects (such as floors, corners and rulers).

Though he retained a lifelong interest in the aesthetics of painting, in 1962 he abandoned the medium as too illusionistic and turned to relief sculpture and then freestanding work.

Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually abstract and the illusionistic depiction of real space created by the action of light on film.