Sentences with phrase «between pictorial»

The paintings fluctuate between the past and present, and between the pictorial convention of landscapes and abstract color fields.

Locating a coherent equipoise between pictorial space and sculptural space — between invention and actuality — invariably results in awkward (not to say «bastardized») elisions of form.

Not for the first time in her work, Oropallo appears torn between pictorial force and social content.

This interweaving syntax lends these paintings a compositional unity that can easily support the tension between pictorial symbol and painterly substance that seems to be the artist's métier.

A dialogue emerges in Stockholder's work between pictorial experience; the physical presence of materials such as wood, yarn, stone, and plastic; and meaning of the objects for which these materials are the building blocks.

Whether standing, leaning, or wall hung, the planks engage their surrounding context, connecting the space between the pictorial plane and physical dimension.

A number of years ago, Nathanson found an interesting similarity between pictorial unity and ideas of the Kabbalah.

They extend Siena's drawing into a place between pictorial space and the outside world.

The deliberate tension between pictorial realism and expressionism keeps the viewer off - balance, uneasy.

The sculptures in this body of work are liminal residing between pictorial space and the 3rd dimension.

I see a dance between pictorial languages.

Timothy Harding's work explores the fluid relationship between the pictorial space and the three dimensional realm,

This relationship between the pictorial and the physical space is often linked to Color Field painting, a style of abstract painting -LSB-...]

This new exhibition expands on Smith's earlier interest in the tension between the pictorial representation and the moving image, and in the way they can both be distorted as soon as they shift cultural contexts.

The continuous interest in intense relations between pictorial elements, the very perception of a painterly surface, color and forms, suggest the artist's desire to explore different layers of meanings and emotions.

It deepens the contrast between the pictorial and dynamic qualities of the work and suggests the crackling of static: a fitting sound for these uneasy and uncertain times.

Timothy Harding's work explores the fluid relationship between the pictorial space and the three dimensional realm, between drawing, painting and sculpture.

Her works riff on past styles; the tensions between pictorial and actual space; the eternal conflict of abstraction and image; the act of looking, including peripheral vision.

A beginning course in painting that explores the relationships between the pictorial elements of painting and discovers the technical advantages of the acrylic medium.

The root of the word «habitat» means to possess, or to be situated, echoing the viewer's process of negotiating the relationship between the pictorial space and the physicality of the artwork's surface.

Without a visual anchor, viewers can only drift within the spaces in which grid and cross intermingle, uncomfortably caught between two - and three - dimensional spaces where boundaries between pictorial depth and surface flatness begin to get fuzzy.

What do the contradictions between these pictorial spaces tell us about each culture in particular?

The ongoing focus on the formal issues suggests the primary concern for the relations between pictorial elements within the canvas.

«Unenclosed by the usual rectangle,» writes Carter Ratcliff in his essay on Kelly's curved canvases, «Kelly's monochromes do not establish an impermeable barrier between pictorial space and the space of the gallery.

Like in Medieval tapestries, where there is tension between the pictorial depth and the flatness of the woven surfaces, my paintings hover in a similar duality.

Her work attempts to find new ways to challenge and explore painting's transformational possibilities, in order to construct a balance between the pictorial and the physical.

His watercolors, gouache, and oil paintings not only explore and expand the conventions of still - life painting, but also illuminate the relationship between pictorial space and depicted objects.

«Liquid Villa» shifts between lucid, crisp dream architecture and colorful, blurring abstraction, unsettling the viewer between pictorial depth and flatness.

Her unassuming canvas The Avenue, Holland (1911 - 12) strikes an intuitive balance between the pictorial solidity of Impressionism and Fauvism's fulgurous palette, earning her a defensible right to be known as one of America's first Post-Impressionists.

Not exact matches

Sumptuously photographed and exceedingly intelligent, The Portrait of a Lady is a cinematic fever dream fascinated by the pictorial and sensuous forms of dominance within James's text, and the inextricable bond between romantic love and violence.

Here's a pictorial comparison between the 2017 Nissan GT - R and the outgoing version.

The advanced, independent artist as a martyr of society was a standard fixture of Romantic hagiography, apotheosized in Vigny's Chatterton, and he had been immortalized on canvas by at least two obscure artists by the middle of the nineteenth century; both of these paintings serve to remind us that there is no necessary connection between advanced social or political ideas and pictorial adventurousness.

Yet in the difference in conception, composition, and attitude between Papety's allegory and that of Courbet lies the enormous gap between painting which is advanced in subject but conventional in every other way and that which is truly of its time, or even in advance of it (to use the term «avant - garde» in its most literal sense) and hence, a pictorial paradigm of the most adventurous attitudes of its era.

The results provocatively hover between real and pictorial, imply performance and disdain any sort of traditional structuring.

The dynamic between intended shapes and those that happen in the rush of emotional brushwork convey a physical sense of the artist's pictorial dance.

The encounter between geographies, disciplines and histories at the core of Meppayil's work prompts what Benjamin H.D. Buchloh identifies as «a latent desire to leave behind the parameters of pictorial space and its supporting surfaces, reaching for an ultimate sublation of the painterly rectangle in a numinous architectural space.»

Based primarily on the metropolis Tokyo, Hatakeyama presents a reflective and suggestive pictorial panorama devoted to the dialectical relationship between nature and civilization.

Reflective and cerebral, Nielsen's pictorial notions make an elemental impact somewhere between the luminous and the sublime.

Kelly's shaped canvases may concern themselves with pictorial issues — say, the relationship between figure and ground — but they do so in a way that denies painting's metaphorical capabilities.

medium to emphasize the slippage between painting, film, photography, pictorial space, and performative space.

Through the intersection of horizontal and vertical planes or screens (both real and pictorial), of varying material, scale and opacity, Charman delineates the grid into a series of recesses and subdivisions that draws the senses and the body towards intimate encounters between planes.

His artistic attitude is embodied in audaciously scaled and shaped paintings, incorporating classical pictorial elements, oscillating between figuration and abstraction.

Viewed from a short distance, a unique motion pattern becomes apparent within each painting — a pattern determined by the spacial relationship between the primary pictorial elements.

The representation of the same pictorial object at a different time, with the aim of observing the shift and the changes in the natural light, was not new to Monet, who between 1890 and 1891 had already created a series of 15 canvases representing a group of haystacks in the outskirts of Giverny.

Where the abstract expressionists sought harmony and purification of the pictorial space, his neo-avant-garde instead aimed to diminish the authorial role of the artist and bridge the gap between art and life.

The first works in the series were debuted in Douglas's 2016 Hasselblad Award solo exhibition at the Hasselblad Center in Gothenburg, Sweden, and the compositions that will be on view in this exhibition represent a more expansive and nuanced investigation into pictorial abstraction as well as the complex relationship between technology and image making.

These paintings, and others made in similarly unorthodox conditions in Montauk and San Sebastian, reveal an individualistic interplay between site and mark - making, both intentional and incidental, that eschews pictorial hierarchies of authorship, subject, and style.

The press release includes a wonderful quote from James Brooks from a 1963 article in Time Magazine on the occasion of his retrospective at the Whitney Museum of American Art: «The crucial thing for a painter is getting to the point where he can maintain some sort of pictorial balance between alertness and dumbness, where he is thinking but it can't be classified as thinking.»

Blurring the line between comedy and tragedy, the grotesque and the beautiful, the critical and the empathetic, Condo has developed a provocative and adventurously imaginative pictorial language, which has helped make him one of the most innovative and influential artists of his generation.

Influenced by the works and writings of Wassily Kandinsky (1866 — 1944), Knaths became interested in music and believed that there were correspondences between musical intervals and spatial proportions, a theory that suited his cubist pictorial structure.