Sentences with phrase «color pure works»

Not exact matches

It's a nice challenge though, starting out from a color idea or any other pure visual idea and see how one can make it work with the flavors as well.

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Lipsticks Estee Lauder «Pure Color Envy» Matte Lipstick and Clinique «Pop Lip» Color — I have tried a lot of lipsticks and these work the best for me!

The Shape of Water is that, certainly, a monstrous and modest example of Man - Child wish fulfillment but moreso is it something truly greater, the dazzling level of love of craft poured into each shot displaying a filmmaker working at his absolute peak, toiling from a place of pure, unchecked passion without much thought to the fact that his central conceit is wildly off - color and potentially repulsive to some, no matter how rose - colored the glasses you're looking at it through.

Pointillism, the term used with respect to the work of Seurat, is the practice of painting patterns of small, distinct dots of pure color next to each other.

Starting on the front of the device, you'll see a pure white color accent scheme for the first time ever — even the send and end phone buttons are colorless, and it really works.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases.

Although she has explored the cultural, social, and historical dimensions of signification of color in her previous work, she is currently interested in the potentialities of color as pure sensation.

Works that are about the pleasures of paint, drawing, surface, material, color, feeling, sensuality, pure visual language, visual ideas, plastic space, beauty, and intuitive expressions are by and large left out.

Surface, shape, line, and color are uniting concerns of these eleven artists whose works often fuse together aspects of pure abstraction, figuration or narrative elements.

While many associate the trippy, repetitive style with the «swinging sixties,» Op Art was pioneered in the 1930s by Hungarian artist Victor Vasarely, whose influential work focused on what he considered the two greatest tenants of artistic creation, «pure color» and «pure form.»

Critics have long compared Mitchell's work to Claude Monet and Paul Cézanne's landscapes, particularly because they convey «landscape» from abstract planes of pure, glistening color.

Simultaneously, the work appears to both actively materialize and dissolve into the surrounding environment, allowing the experience of pure color and form in space.

«(Stroudsburg's) work bridges the area between realistic description and pure color expression for its own sake... Colors tend to be lush and provocative and they produce dazzling effects.»

Even in these somber works, however, greys were never pure greys but shifted subtlely from pink - grey to blue - grey, from warm to cool (one thinks of the incredible range of color with which Brice Marden could imbue his grey paintings), and the blacks were never merely black but contained blues, reds and browns.

Although Baselitz has always worked with specific imagery (portraits, nudes, animals, landscape), he professes equal interest in pure painting - in problems of shape, color and line.

This fall, the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents the first comprehensive retrospective of work by Harvey Quaytman, an under - recognized figure in twentieth - century American painting noted for his monumental shaped canvasses, material investigations, and interest in color as a pure medium.

These works eventually gave way to monumental canvases of pure, concentrated color that heralded a new era of minimalism.

''... Natvar Bhavsar is a color field painter who works in pure pigment.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases - Anna's Light (1968), named in memory of his mother who had died in 1965, is his largest work, 28 feet wide by 9 feet tall (8.5 by 2.7 meters).

While they may look like pure exercises in color theory and abstraction, Wilson's works have titles — Hollywood, Lantern, Extra Spicy — that gesture toward real - world aesthetic experiences.

These works functioned in terms of the painting medium and focused on pure ideas of form, composition, color, scale, and texture.

The work focuses on the artists Wall colorings series where Chad has progressed into pure abstract forms, a transition from his earlier work involving representational imagery.

While critics were ditching artistic heroes in favor of the «intentional fallacy» and «pure painting,» heroic titles largely gave way to numbers or simply the work's colors.

«Austin,» which opens to the public this month, is very much the culmination of Kelly's oeuvre, not just a summation of his work's themes but his masterpiece, the grandest exploration of pure color and form in a seven - decade career spent testing the boundaries of both.

In the 1950s, Noland made his most famous series of works, which included nearly two hundred paintings of concentric circles that seemed to float in the center of the canvas, animated by pure, pulsing color.

From 1909 to 1913 many experimental works in the search for this «pure art» had been created by a number of artists: Francis Picabia painted Caoutchouc, 1909, [20] The Spring, 1912, [21] Dances at the Spring [22] and The Procession, Seville, 1912; [23] Wassily Kandinsky painted Untitled (First Abstract Watercolor), 1910, [24] Improvisation 21A, the Impression series, and Picture with a Circle (1911); [25] František Kupka had painted the Orphist works, Discs of Newton (Study for Fugue in Two Colors), 1912 [26] and Amorpha, Fugue en deux couleurs (Fugue in Two Colors), 1912; Robert Delaunay painted a series entitled Simultaneous Windows and Formes Circulaires, Soleil n ° 2 (1912 — 13); [27] Léopold Survage created Colored Rhythm (Study for the film), 1913; [28] Piet Mondrian, painted Tableau No. 1 and Composition No. 11, 1913.

Cézanne and fellow Post-Impressionists used increasingly abstract and geometric forms and juxtapositions of pure, intense colors toward emotional effect to create works such as La Montagne Sainte - Victoire (1888 - 90).

In the present works, darker tonal variations take precedence over the choice of pure color.

Many of the strongest technical works in the show are from the group that Stieglitz gathered (friends of Demuth) who followed Kandinsky into the «non-objective» worlds of pure color or geometry.

The pleasures of minimal clarity combined with the powers of pure color are represented by the reductive encaustic work of Gail Gregg, Don Voisine's painting with its shifting bright planes, and in James Juszczyk's subtle tonal gradations.

Probably best known for her paintings of lines and grids using understated colors, Martin's work has been hailed as «pure abstraction, in which space, metaphysics, and internal emotional states are explored through painting, drawing and printmaking.»

The soft pastel colors and delicate fragility of line in a work like Skywiper No. 57 (2015) seem to run uncomfortably close to abstract kitsch, asking viewers to regard the difficult question that surrounds abstract painting today: Has it become a placeholder (or stock image) for pure presence, instead of a politically charged genre that worked to resist materialism?

The work on view at the Santa Monica Museum of Art is a massive network of pure paint, a comprehensive survey of the color system the artist began developing in 1973 with a research grant from the City University of New York.

The exhibition begins with work by Mark Rothko, Barnett Newman and other Abstract Expressionists who favored expanses of pure color.

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.

«Drawing», Kerry Schuss, New York, New York «Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné», The Ruth and Elmer Wellin Museum of Art, Clinton, New York «Papier / Paper V, Zeichnung (Drawing), Clement & Schneider, Bern, Germany «Cornering the Round: Robert Mangold, Brice Marden, Robert Ryman and Kate Shepherd», Barbara Krakow Gallery, Boston, Massachusetts «The Good Earth», Kerry Schuss, New York, New York «Intersections @ 5», The Phillips Collection, Washington, D.C. «Oysters with Lemon», Ventana 244, Brooklyn, New York «Color Fields», Massachusetts College of Art and Design, Boston, Massachusetts «Pica: Celebrating 20 Years Reflecting On The First Decade», Elizabeth Leach Gallery, Portland, Oregon «Expanded Field.

Her figurative work has been featured in many art magazines and eighteen book publications on multiple media, including American Artist magazine; Watercolor Magic; Painting Lessons from the Art Students League of NY; Pure Color, The Best of Pastel; and 100 Mid-Atlantic Artists.

Second, moving around big pieces of painted paper for the mock - up of the elevator bank mosaic led Hofmann to the signature motif of his late work: little floating planes of color, squares and rectangles of pure color locked together across the surface or isolated on fields of murkier colors.

Instead, he combines his own pigments in an attempt to explore pure unadulterated light through color that can not be easily explained... Unlike Yves Klein, known for the idiosyncratic blue paint, or Frank Stella, whose early works are exclusively black, Knutsson investigates the entire color spectrum, focusing on one hue at a time.

Mitchell's paintings differed from her Abstract Expressionist colleagues because of their use of hot colors, and Ashbery picked up on this, noting that her palette brought her work closer to figurative representation than pure abstraction.

Asked about the pleasure inherent in the experience of pure color, Behnke comments: «I think of my color as more anxiety... color can serve as a segue into the work... the color makes them more accessible... an then... when things settle down and you spend more time with the piece it starts to be a little grating.»

As in two especially vibrant works from 1968, «Morning Choice» and «A Wall for Apricots,» which sport wraparound bands of fruity hues, it sometimes seems as if you are looking at columns of pure, dematerialized color.

Van Gogh's influence is evident in many Expressionist works as painters emulated his use of pure, bright colors, his emphatic brushwork, and his contrasting color combinations in their own paintings.

Some works recall pure color - field painting while others refer to architectonic geometries, textile patterns and information flows.

The work I'm doing now is me backing out of pure abstraction and color field painting into something more figurative.

A retrospective exhibit of her work 10 years ago reviewed the evolution of her stringent abstractions, from grids and small shapes like ovals and squares to pure bands of luminous color.

A group exhibition after the leaders of avant - garde art, featuring works in jewelry, textile, paint, glass and ceramic to celebrate artistic expression and use pure color as a resource for describing light, space and mood.

These drawings are deliberative yet whimsical, as I work with the pure physicality of line, shape, and color.

The gallery notes that his «Pure Red Color, Pure Yellow Color, Pure Blue Color,» a three - panel monochrome work created in 1921, was exhibited in a Constructivist exhibition in Moscow.