Sentences with phrase «bare canvas as»

He emphasized spatial relationships in his work by leaving unstained, bare canvas as a contrast against the colors used throughout his paintings.

Not exact matches

In the case of Seeded (1960), the first work on the right as visitors enter the gallery, these colors are amalgamated in an energetic mass of swirls, curves, bold lines, and planes of color that are further enlivened by patches of canvas left bare.

Those curved areas may look back to Henri Matisse as well, pressed against a painting's edge like the leg and torso of a grand nude — even as that very edge takes on a touch of bare canvas that seems to change its dimensions and to divide a painting into two slightly misaligned panels.

In the black pourings Pollock was sometimes letting the paint bleed into bare canvas — and this was a precursor to Colour Field painters, such as Helen Frankenthaler Hon RA.

Her canvases are unprimed and the sometimes bare surfaces are a deliberate part of the work, just as while some paintings imply the image continues beyond the physical constraints of the canvas, others are literally framed.

The «Scratch Series» from the 70s, for example, shows his rhythmic gesturing across the canvas, as he pressed off the top layer of paint with his bare thumb to reveal the alter undertone.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

Roy's obsessive meticulousness is analogous to the objective of modernized globalization — no canvas remains bare as no frontier remains untouched.

The «stairs» are painted with thick impasto, in a subdued range of earth colours, which contrasts with the bare canvas in the rest of the picture which Beattie often refers to as a breathing space or «lung».

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

The «split» Veils reveal bare canvas between the poured bands, and the «triadic» Veils resemble a triptych, as the two braces of the stretcher leave vertical lines that divide the canvas into three sections.

Ochiai's gestures, be they engraved on a thick bed of impasto oil or applied directly to a bare canvas, act as physical manifestations of his concern for the traces we leave.

In one instance, two works hanging side by side: Sign (potentially the most minimal in the show, a series of pencil lines on bare white canvas) and Date act as a visual diptych, the former's clean diagonals echoed as murky chemical smears, nighttime urbanity congealed into acrylic.