Sentences with phrase «brushstrokes in later works»

Some have the clarity and borders of brushstrokes in later works while most others lack the restraints he went on to develop.

Not exact matches

This display of late works includes a series of busy Nocturnes cloaked in shadow (up close, you can see traces of colourful brushstrokes that have been obscured by black overpaint), as well as his powerful final work, Death of a Poet.

During last year's Venice Biennale, the Gallerie dell» Accademia's Philip Guston and the Poets reduced five modernist masters to simplified, and not always accurate, thematic brushstrokes, resulting in a show that was best enjoyed as a straight survey of Guston's fantastic late works.

Avery insisted on a rigorous study of his subject, and most of these mature works were the result of sketches or drawings made with color notations, later enlarged and simplified into watercolor or oil crayon and finally translated to oil applied in luminous, thin washes of closely valued colors overlaid with swiftly applied expressionist brushstrokes.

Resnick continued to work in an abstract style until the late 1980s, when he started creating a series of gouaches featuring simplified human forms suspended in a field of brushstrokes and color.

Installed chronologically, the exhibition will demonstrate how Lichtenstein's works from the late 1950s prefigure his use of brushstroke imagery in the later works.

In the late 1940s, as Morandi's brushstroke became washier, freer, and more pronounced, I thought about the sense of touch in Philip Guston's late figurative worIn the late 1940s, as Morandi's brushstroke became washier, freer, and more pronounced, I thought about the sense of touch in Philip Guston's late figurative worin Philip Guston's late figurative work.

Even his later works, painted by brush, recall the same energy in their expressive use of color and seemingly infinite number of frenetic brushstrokes.

The rugged forms and bravado brushstrokes are imbued with figurative possibilities, and the limited palette of gray black, salmon pink and verdant green have a prescient power, later revealed in Guston's final and explosive figurative works.

While Mitchell's brushstrokes coalesced into all - over compositions in the late 1970s and early 1980s, in works such as the present one they animate the surface akin to torquing waves.

Jill Moser recapitulates the effect 57 years later in Mirroring Mist (2014), while Meyer's tempering of her gestural impetuosity with discreetly and carefully modulated shapes and brushstrokes links Mitchell's work with the hard - edge strictures followed by Westfall and others near the opposite end of the abstraction continuum.