Sentences with phrase «color upon a surface»

Not exact matches

Gifts, either of the flesh or of the spirit; and the spirit bloweth where it listeth; and the world's materials lend their surface passively to all the gifts alike, as the stage - setting receives indifferently whatever alternating colored lights may be shed upon it from the optical apparatus in the gallery.

This play mat has bold, vibrant colors that will attract baby's attention, and the soft fabric makes it the perfect surface to play, stretch out and relax upon.

Building a tapestry of structure and dimension through a weaving of loose and tightly knit brush strokes, Casteel builds upon the canvas» plain surface an orchestra of color and texture, with the application of paint not unlike the caress of a familiar hand.

Upon entering, visitors will be invited to cover every surface of the furnished gallery with multicolored polka dot stickers to gradually engulf the entire space in color.

Conscious of the different moods that the combination of colors would evoke, Ding superimposes layer upon layer of the motifs, forming elaborate patterns that resemble the flat surfaces of traditional cloth weaves, fields of green and yellow, or even the pixelated grids of digital art.

Though Scharf's brightly colored imagery is generally playful, he has remarked that darker themes exist beneath the surface of his works, visible upon closer inspection.

Though Scharf's brightly colored imagery is generally playful, serious themes exist beneath the surface, visible upon closer inspection.

The latter picture planes are either divided into fourths, with different colors delineating the partitions, or are built upon a broad - brush, monochromatic surface.

Layer upon layer of shapes and color are applied, creating a tension between the varied surfaces.

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

According to The Rauschenberg Foundation, «tarnishing agents, such as acetic acid and ammonium salts, [were] brushed or silkscreened onto brass, copper, or bronze surfaces, resulting in a muted range of colors [dependent upon] the type of metal support.»

But the quality of Pollock's line is unique: as it accelerates across the surface, changing color, twisting upon itself, and generating an intricate overall web, it is experienced as a purely optical phenomenon.

In the studio, these colors are mixed in large batches, then rolled, splashed, dripped, or splattered upon the surface of the paper.

Because oil and water do not mix, colored paint floats upon the surface.

Characterized by simultaneous attention to surface, image, color and space, his paintings create new paradigms for the meaning of painting that reflect upon the fundamental questions concerning the practice today: authenticity, meaning, hierarchy and context.

With bright, bold colors, shiny lacquered surfaces, and pattern upon pattern of richly layered images, Casey Gray's paintings immediately evoke the graphic qualities of posters, skate deck designs, and graffiti.

The carefully manipulated light of the projector upon the surface of the painting creates a new, hybrid color space.

The surface of each form has been meticulously, painstakingly, covered by layer upon layer of colored enamel paint, and they sit boldly upon plinths constructed from stacked cardboard boxes painted white.

She seems to care little for surfaces and even less for her palette: lumpy, grayish figures lie casually upon the surface of the canvas, craftsmanship is squandered, and colors are straight out of the tube.

Grosse, who typically uses industrial spray guns to apply brilliant color directly upon the walls, ceilings, and floors of museums, looks forward to the challenge of painting on outdoor, gritty urban surfaces that thousands of passengers zoom past every day.