Sentences with phrase «color fields technique»

Clyfford Still fused the two predominant painting styles of the radical postwar movement, combining the gestural method with the famed color fields technique.

Color Fielding technique was also used by Morris Louis, Jules Olitski and Kenneth Noland.

Not exact matches

To determine the structural and chemical composition of the soft tissues Lindgren collected and see if the fossil sea turtle did have a dark colored shell, the researchers subjected the sample to a selection of high - resolution analytical techniques, including field emission gun scanning electron microscopy (FEG - SEM), transmission electron microscopy (TEM), in situ immunohistochemistry, time - of - flight secondary ion mass spectrometry (ToF - SIMS), and infrared (IR) microspectroscopy.

She pictures and explains the development, facts, goals, and meaning of American Color Field and its artists, including their very characteristic painting technique.

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

As disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

Surprisingly few artists used the spray gun technique to create large expanses and fields of color sprayed across their canvases during the 1960s and 1970s.

One of the reasons for the success of the Color Field movement was the technique of staining.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied.

«Border Theory» revives painting techniques pioneered by Helen Frankenthaler, Morris Louis and other Color Field painters in the 1950s and 1960s.

At the same time, her almost decorative technique of making human and animal figures components of formal composition, through the arrangement, or insertion, of color fields within the pictorial space, credits Kudo as an aspiring successor of the modernist formal painting championed by Matisse»

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Although Blayton employed techniques from Abstract Expressionism and Color Field painting, she noted that her work did not grow out of any particular artistic tradition, but rather the feelings generated by her own thoughts.

Eventually, she switched to acrylic paint, but Frankenthaler's sensuous and painterly staining technique led Morris Louis to adapt her process in what would become known as «Color Field» painting, and declare that Frankenthaler was the «bridge from Pollock to what was possible.»

The «one - shot painting» stain technique of color field was the innovation of Helen Frankenthaler, first accomplished in «Mountains and Sea,» made in 1952, when she was 24 and unknown.

On the level of technique, Pollock's revolution led then to the color field painters who, years later, adopted staining and pooling methods clearly evident in the work of Morris Louis and Helen Frankenthaler.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Though long associated with the Color Field movement, Christensen's relentless experimentation with tools and techniques makes him resistant to any one label or category but does place him among this country's most ambitious abstract and gestural painters.

An heir to first - generation Abstract Expressionism, she invented the technique of «staining» color directly into raw canvas, and was a leader among the Color Field painters of the 1color directly into raw canvas, and was a leader among the Color Field painters of the 1Color Field painters of the 1960s.

Ms. Frankenthaler, whose staining technique was essential to the development of Color Field painting, was one of the most admired artists of her generation.

Ms. Yuskavage, age 53, gained an international reputation in the 1990s for using Renaissance - era techniques to paint cryptic images of women, often nude and set within epic landscapes or saturated color fields.

With a unique pouring technique, Morris Louis achieved his intensely vivid hues by staining his canvases with Magna, a newly developed form of synthetic acrylic resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous color.

She employs similar staging techniques in her photographs, placing animals in theatrically lit settings and color field backgrounds, alone or with a select few from the herd.

DEPTH OF FIELD explores the techniques of six painters whose works create a unique viewing field of illusionary abstraction through layering, deep paint, brush or droplet patterns and a variety of optical effects wherein color and shape are reinterpreted in vieFIELD explores the techniques of six painters whose works create a unique viewing field of illusionary abstraction through layering, deep paint, brush or droplet patterns and a variety of optical effects wherein color and shape are reinterpreted in viefield of illusionary abstraction through layering, deep paint, brush or droplet patterns and a variety of optical effects wherein color and shape are reinterpreted in viewing.

Working with unconventional materials and techniques, Uklański resuscitates artistic vernaculars from a number of various historical movements, adopting the idioms or «dialects» of Art Informel, Color Field Painting, Abstract Expressionism and Fiber Art, among others.

Technique: • In these paintings, I opted for thinner paint application with many layers so the paintings have a deep color - field resonance.

For example, when Color Field painting becomes materials and techniques, it diminishes your experience.

It's a technique that flirts with geometry, calligraphy and cartography; plays with varying degrees of flatness; and finesses its way between the emotionality of Abstract Expressionism and the formal ecstasies of Color Field painting.

The completed works are painterly, evoking three - dimensional manifestations of 1950s abstract Color Field canvases, and direct, recalling the simple forms and techniques of 1960s Minimalists.

Influenced by Jackson Pollock and other Abstract Expressionists upon moving to NYC, she developed a unique method of painting, the soak - stain technique, in order to create her color field paintings, which were a major influence on such other color - field painters as Morris Louis and Kenneth Noland.

Together they visited the studio of Giacomo Balla, where they were introduced to the technique of Divisionism, painting with adjacent rather than mixed colors and breaking the painted surface into a field of stippled dots and stripes.

Using thinned out paint and working from the reverse of the canvas, Hood's painting technique recalls Van Gogh's painterly strokes and Color Field abstractions.

Her technique of using oils diluted with turpentine directly on very large, unprepared canvas, created a field of transparent color.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

Taking cues from David Bowie and Donna Sommers, Baggesen creates a disco den with purple carpet, shimmering disco balls, Color Field paintings, political banners and a Dutch therapy technique from the 1970s.

His technique and imagery associated him with the style known as Color Field painting, which emphasizes the visual and emotional potential of pure chromatic effects.

In the early 1990's Mark studied the techniques of watercolor painting, used these techniques in graphic and color field paintings and then adapted these techniques to acrylics and to his interest in the EXPLOSION OF COLOR, EXPLORATION OF MOVEMENT and EXCITEMENT IN DISCOVERY which has become the essence of his color field paintings and then adapted these techniques to acrylics and to his interest in the EXPLOSION OF COLOR, EXPLORATION OF MOVEMENT and EXCITEMENT IN DISCOVERY which has become the essence of his COLOR, EXPLORATION OF MOVEMENT and EXCITEMENT IN DISCOVERY which has become the essence of his work.

Informed by the artist's love of Mark Rothko's color fields and the painterly techniques of predecessors such as Barnett Newman, Brice Marden, Agnes Martin, and Georgia O'Keefe, Colen's Mailorder paintings emerge from a laborious process of application and control.

She gained fame with her invention of the color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»Color Field painters who emerged in the»60s.

Lacing Action painting and Color Field painting with a postmodern twist, Zimmermann's abstract motifs seem to spring from more figurative representations: he uses computer graphics and «dithering» (a technique that displays images without firm edges so as to give a more colorful appearance) to deform images, texts and signs from his own massive archive of images, evoking the atlases of Gerhard Richter and Aby Warburg.

Through this technique Frankenthaler emphasized the painting's flat surface of the canvas; her methods proved influential among her contemporaries including Morris Louis and Kenneth Noland and led to her association with Color Field painting.

Helen Frankenthaler, Yearning (1973): Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

In 1951, Stamos moved to East Marion, New York, where he developed an expressive color - field technique.

Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

Rothko's images to some degree presaged some of the techniques of the later color - field painting.