Ellsworth Kelly had painted
canvases of a single color, without inflection.
Not exact matches
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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.»