Sentences with phrase «canvases of a single color»

Ellsworth Kelly had painted canvases of a single color, without inflection.

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Serving as both a complementary as well as antithetical offering to his film, Mathias Poledna has created a new suite of 36 works on canvas in a single color.

«My approach to painting is to strive to capture the color, complexity and rhythmic phrasing of a song — a single moment of music, frozen forever on a canvas.»

Although from a distance the canvas appears to be comprised of a single color, close - to an intricate network is revealed.

On the other side of the world, in Italy, Lucio Fontana worked in a similar way in his «Spatial Concept» series simultaneously — his signature was a slash, sometimes several, on single - colored, cloth canvas.

«A single facet or canvas may have its own color, or the shadow across it may serve as color -LRB-...) Sometimes the color solely belongs to the edge of a work, or so it seems, until one notices that Hinman has painted the back -LRB-...) He is not just shaping an object, but also taking it out from the wall.»

Both artists experimented with single colored canvases and geometric patterns, but while Kelly's shaped canvases were often irregular, Youngerman sought to explore a radical symmetry of form.

Its dark tone of long - dried blood recaps postwar abstraction, including its casual gestures, the grid of paper scraps pasted on canvas, and a formalist's restriction to a single color.

In his abstract paintings from the 1960s, single - colored geometric shapes pulse rhythmically across their flat ground planes, or torque the surface of the canvas.

His modular paintings (first shown in the exhibition Kurgan Waves, at the Canada gallery, New York, in 2006) are composed of single - color canvases installed to create geometric, often overtly figural forms, such as the long - legged, slicker - and - galoshes - wearing The Fisherman's Friend from 2005, one of the earliest works in the exhibition.

Not strictly a minimalist, he has made a number of monochrome paintings on shaped canvases and single color rectangular panels.

All the paintings feature repeating bands or stripes of a single color applied to canvases that start out rectangular and end up emphatically shaped, resembling big letters.

In «Double Bill», a 2012 series of large inkjet prints, [19] Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand Léger with Max Ernst) on a single canvas, further altering the appropriated picture plane by overlaying his own hand - painted color additions.

It's an unusual outing, to say the least, for the world's most celebrated living painter, because the works aren't paintings per se but rather painting-esque things: what he did was take a digital image of a single one of his 1990 abstract canvases and then run it through a mathematical process to isolate its chromatic DNA as a series of eye - boggling, colored «STRIPS.»

«Doubles, Pairs, and Diptychs» highlights three modes of Wesley's painting practice: paintings that extend beyond a single canvas; individual works that are conceived formally or conceptually as pairs; and individual works that have virtually identical compositions in which small shifts in color, scale, and line create distinct visualizations.

(An early announcement in modernism of the inadequacy of easel painting as a single canvas was Rodchenko's Pure Red Color, Pure Yellow Color, Pure Blue Color, a work that consists of three physically separate canvases.

The 14 large - scale paintings he produced there all rely on a single formal concept — each is made of two joined canvases of pure monochrome color — yet the works vary in color and proportion from one to the next.

She is best known for graceful elongated figures of pensive rural women, with each canvas in a single dominant color.

The one work for a fine artist, the one painting, is the painting of the one - size canvas — the single scheme, one formal device, one color - monochrome, one linear division in each direction, one symmetry, one texture, one free - hand - brushing, one rhythm, one working everything into one dissolution and one indivisibility, each painting into one overall uniformity and non-irregularity.

Only, in his work, Enrico Castellani would cover his framework of nails with a stretched canvas, painted in a single color, letting the structure underneath create endless patterns and landscapes, unique sequences and narratives that interact with the world around them.

The sensuous waxy surface of each 8 - by -5-foot canvas quietly hums with a single color that's highly suggestive of light and memory.

A characteristic permanent installation might consist of a series of large single - color painted canvases or steel panels in varying shapes — wedges, arcs, triangles, trapezoids — cartwheeling across an expanse of wall.

In the 1960s he began employing brighter colors and scraping down entire canvases rather than working on top of previous attempts, thus beginning the entire image afresh at each session and often spending months or years on a single painting.

Regardless of the geometric form, he wrote, «Mr. Noland has been consistent and unvarying — not to say single - minded — in his artistic purpose, which has been to fill the canvas surface with a pictorial experience of pure color.»

Immediately striking is the great sense of depth conveyed through Il Lee's masterful application of a single color of ballpoint pen onto a surface of canvas or paper.

Kelly and Youngerman both experimented with single colored canvases and geometric patterns, but while Kelly's shaped canvases were often irregular, Youngerman sought to explore a radical symmetry of form.

He is best known for his minimalist works consisting of several solid colored, geometrically shaped pieces of stretched canvas fitted together to form a single work.

To execute a single «squiggle,» sheets of plywood are laid on top of each other, resembling a topographical model, before they are covered in canvas and painted over in Sperling's signature palate of saturated, sometimes clashing colors.

French painter Bernard Piffaretti, whose work was just exhibited at Cherry and Martin in Los Angeles, similarly employs a single, initiating mark down the center of the canvas, reminiscent of Barnett Newman, and bold colors and graphic marks like the abstract expressionists; however, the similarities end there.

(Diane Upright, Morris Louis: The Complete Paintings, New York, 1985, p. 49 - 58) As art historian Michael Fried comments, «Louis discovered that if successive waves of thinned pigment, each a different color, were stained into a length of canvas, what was produced was a single, visually continuous configuration within which the individual configurations left by each wave in turn — or, perhaps more accurately, the limits of these configuration — were still visible.

... Whole canvases are united in a single rhythm, with accents of rich color and dark tones played against white» (J. E. Bernstock, Joan Mitchell, New York, 1997, pp. 35, 38).

To those who've paid attention to Hafif's artistic evolution, though, one alteration she made about three years ago still seems bold for a painter who built an international reputation on her single - color canvases and whose devotion to monochromatic painting put her smack in the center of the 1980s «Radical Painting Group.»