Sentences with phrase «between pure painting»

He enclosed vast panoramas in abstract lines of color that created an oscillation between pure painting at the edges and moments of illusionistic space at the center of the work.

Not exact matches

I knew I wanted to tone down the contrast between the slate and aubusson blue, so I chose to tint some clear wax with Annie's new Pure White chalk paint.

The paint - tube - pure hues of Moonrise Kingdom evoke picture books but also reinforce subtle connections between the characters, who live on an island called New Penzance off the New England coast, in the summer of 1965.

With a deep and vivid palette and dynamic interchanges of light and dark, these paintings — always executed in oil on wooden panels — collapse the usual binary distinctions between abstraction and representation, narrative and pure sensation, past and present.

The contrast between the reclaimed «artistic» waste and the richness of the paint highlights a dynamic tension between Ruby's contemporary practice and the early - modern belief in the supremacy of «pure artistic feeling» over the visual depiction of objects.

Starting out with vast sheets of pure colour in huge trays on his studio floor, his finished works are something between painting and sculpture, a joyous celebration of colour and material.

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

While both groups valued abstract painting as a «purer» form of art, there were also significant differences between them.

She quickly put aside pure forms of individual expression and started applying paint with a palette knife, creating a greater distance between herself and the painting's surface.

Britain's most revolutionary painter joins the dots between Georges Seurat's pointillist paintings and her own utopian explosions of joy in an exhibition of pure genius

Byron Kim's work sits at the threshold between abstraction and representation, between conceptualism and pure painting.

Back in those days, in 1952, action painting was seen as the purest form of union between painting and performance.

The paintings created between 1989 and 1994 are widely considered to represent the purest articulation of Richter's abstract technique, and represent the culmination of a rigorous investigation into the possibilities of painting.

Brenna Youngblood (b. 1979, Riverside, CA) incorporates her own photographs, representational fragments, and found objects, such as wallpaper and book pages, into her textured, atmospheric paintings that read between pure abstraction and a slice of life.

«Liminal Squared» by Julie Mehretu at the Marian Goodman Gallery In «Liminal Squared,» Julie Mehretu's latest show at the Marian Goodman Gallery on W 57 Street, she presents a small number of huge, nonrepresentational paintings that blur the lines between landscape, architectural drawing, and pure abstraction.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

Pioneer explorer of the sign in painting, the American artist Mark Tobey (1890 - 1976) sought, through pure abstraction, an original calligraphy, a sacred space outlining the path to universal language between beings.

With a deep and vivid palette and dynamic interchanges of light and dark, these paintings, collapse the usual binary distinctions between Abstraction and Representation, narrative and pure sensation, past and present.

Paintings by the early Australian modernist Roy De Maistre, for example, share a space with a series of pieces by the young Dutch artist Riet Wijnen, whose interest in «the impossibility» of pure abstraction has led her to create a fictional dialogue between Grace Crowley (also a pioneering early Australian modernist), and the British constructivist Marlow Moss.

And as complex as «Between Island and Mainland» (2012) and «Ferryman» (2012) appear, with their swirling / organic forms with interlocking edges, painted with varying differences in thinness, thickness, and modeling, they evoke so distinctly the serenity and simplicity of the Buddha Amitãbha's ascendance, the grace of which was so essential to Pure Land Buddhist painting for over a millennium.

1997 Theories of the Decorative: Abstraction and Ornament in Contemporary Painting, Inverleith House, Royal Botanic Garden, Edinburg, Scotland; traveled to Edwin A. Ulrich Museum, Wichita State University, Wichita, Kansas, USA (curated by Paul Nesbitt and David Moos) Primarily Paint, Museum of Contemporary Art, San Diego, La Jolla, California, USA Pintura, Galeria Joan Prats, Barcelona, Spain; traveled to Galeria Marta Cervera, Madrid, Spain After the Fall: Aspects of Abstract Painting Since 1970, Snug Harbor Cultural Center, Staten Island, New York, USA (curated by Lilly Wei) Intimate Universe (Revisited): Seventy American Painters, Robert Steele Gallery, New York, USA (curated by Michael Walls) Schilderijen: Reinoud Van Vaught, Fabian Marcaccio, David Reed, Jonathan Lasker, Gallerie Tanya Rumpff, Haarlem, the Netherlands Wetterleuchten, Galerie Evelyne Canus, La Colle - sur - Loup, France (curated by Günter Umberg) Critiques Of Pure Abstraction, Independent Curators, Inc., New York, USA (curated by Mark Rosenthal)(traveled) Stepping Up, Andrew Mummery, London, England Relations Between Contemporary Architecture and Painting: Greg Lynn, Fabian Marcaccio, David Reed, Jesse Reiser / Nanako Umemoto, Künstlerhaus Palais Thurn und Taxis, Bregenz, Austria Some Lust, Patricia Faure Gallery, Santa Monica, California, USA Installations / Projects, Institute for Art and Urban Resources / P.

He thus constructed his practice in a constant back - and - forth between the physical impulses of work in the studio and the resurgences of a sensorial memory, between the transcription of the sense of nature and the conception of pure painting fundamentally liberated from any kind of imagery.

Ethier's paintings are a middle ground between these sensibilities, with works that veer closer to pure abstraction, yet with forms and titles that are the occasional nod to the landscape.

By doggedly ploughing his own furrow, Hartung in a sense refused to choose between two simplistic visions of abstract art: on one side, eruptive and chaotic painting, based on pure intuition, combined with the expressionist, gestural, lyrical, informal and Tachiste tendencies of post-war painting; and, on the other, control, precision and systems, whose notions belong more to the realm of Geometric Abstraction.

I was also struck by the formal parallels between this very pure kind of painting and the Modernist architecture going on at the same time.

Early works from the 1990s are brought into a dialogue with recent paintings, demonstrating that the entire work follows a dialectic that discards the conventional distinction between abstraction and representation, and instead treats the subject of each painting in such a formalised manner that it becomes a mere artefact, a transformation of reality into a pure and autonomous expression through painting.

Knobby Knees, Travis Collinson's second solo exhibition of paintings and drawings at Maloney Fine Art, is a new body of work; a series of portraits using family, friends and colleagues painted with a signature style of simplified form and pure color, providing insight into the intimacy shared between the artist and his subject.

Torr alternated between pure abstraction and more figurative subjects, using drawing and painting to explore especially the energies underlying the natural world.

The new paintings extend Kushner's ongoing engagement with the tension between the opulent and the austere and the natural and the geometric, pursued through the improvisational use of pure paint and occasional inclusion of metallic leaf.

He focused on the tension between doubt and belief in painting — he once called painting «pure idiocy».

When in your painting life did you realize that there is a difference between pure perception and our understanding of the world?