Sentences with phrase «atmospheric space of these paintings»

Building on the subtle atmospheric space of these paintings, Contino adapted more whimsical, vaguely biomorphic, forms, deploying them in highly orchestrated compositions.

Not exact matches

Ferris: Often I think of my paintings in terms of theater sets — a fake world surrounded by a larger atmospheric light world — you only glimpse the stage through this light construction that permeates and creates the physical space.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

Using materials she has found in and around the South London Gallery building — planks of wood, an old staircase, floorboards, sheets of plexiglass, plaster and paint — supplemented by others inspired by the material and atmospheric qualities of the space observed in the course of making the work, Djordjadze has created an installation which gently but thoroughly infiltrates our reading and negotiation of the room.

In «Memoirs: Green,» Olitski applies washes of sharp, poisonous greens, reds, and blacks to create a deep, atmospheric space reminiscent of J.M.W. Turner's paintings.

Painting / Light / Space draws together nine large - scale atmospheric paintings, several drawings, and archival materials into a timely reconsideration of Pousette - Dart's contribution to American art and history.

Ambitiously drawing on history, architecture and the collective memory of his home country, Campins mixes media — oil, watercolor, pencil — to create hauntingly evocative, atmospheric paintings inhabiting a metaphysical space between reality and fiction.

A lot of Olitski's early, really atmospheric, disembodied color paintings had a wedge at the edge that would define the shape and size of the stretcher bar and its supports so there's no lying about space or anything.

These expansive paintings, with their pixelated backgrounds and neon, atmospheric foregrounds, evoke technological cityscapes whose layered space and temporality recall Tron, City of Night, and other cinematic masterpieces of science fiction noir.

Andrew Fish's paintings use gesture and color to embellish snapshots of often banal in - between spaces — a bridge or a crosswalk — with an atmospheric sense of light and space.

His works are composed of a ground color coated in transparent or translucent glazes, producing subtle, atmospheric gradients of tone that highlight the material working of paint whilst generating a color suffused pictorial space.

Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and organic forms, resulting in atmospheric images evocative of representational landscapes, but always opening up to something more, something beyond.

The choice of works is very deliberate with the exhibition broken down into seven themes: Beauty, Power and Space, which looks at each artist's engagement with the sublime, a theme central to English Romantic art but which survived through the modernist movement and is a key feature of Twombly's paintings; Atmosphere, which considers the ways in which the three artists paint land and sea through a filter of atmospheric conditions; Naught so Sweet as Melancholy, named after a phrase in Robert Burton's Anatomy of Melancholy, where the theme of loss and memorialisation are central concerns; The Seasons which reflects upon the passage of time; Fire and Water where all three artists evince the power of the elements; The Vital Force which brings together works of a sensual or erotic nature; and finally A Floating World where each artist contemplates mortality and external events that impact on their lives.

Lisa Grossman's oil paintings of the wide open rural eastern Kansas, painted en plein air (or on location), are a meditation on open spaces, exploring the emotional responses to atmospheric shifts in light, color, and the vast distance of land and sky.

And you later find in Morris Louis, where he's pouring paint across unprimed canvas, then that unprimed canvas begins to fulfill the same role of charged atmospheric space.

The nearest I have come to thinking I'm seeing deep space in abstract painting (aside from no - account atmospheric stuff) is in Anne's work from 3 years ago, where the difference between the larger areas contrasted with other incredibly detailed areas, so that the focus of the work seemed to change, to pull the viewer (well, me) in and out, like a kind of sucking in and pulling out, This is my punt, and I'm still unsure about it.

How do you keep the painted relationships in an abstract painting JUST spatial / pictorial — neither depictive, descriptive, suggestive of illusionistic, figurative, atmospheric space; nor literal, one layer on top of another (even though they are), or flatly adjacent?

For an atmospheric dining experience, a range of tones in the same colour will unite the entire space, while a dark painted ceiling will give the room a cosy feel.