Sentences with phrase «colored fields often»

In 1966 he painted a group of soft toned colored fields often broken by three parallel horizontal lines of approximately two inches in width, floating or stacked on the surface.

Not exact matches

He was groomed from an early age to play golf, and was often younger than his competition, and the only person of color on the field.

On any given day, families unfortunate enough to live near a pig factory farm — often low - income people of color — might suffer respiratory distress, decreased lung function, or nausea because facilities pump pig waste through sprayers onto fields.

Newman had close artistic connections with his art - mates Mark Rothko and Gottlieb, often called the painter of Color Field.

Since the smaller (and often darker colored) dogs have been the ones that are faster and flashier in the field, these breeders have tended to breed for those characteristics.

While playing you'll click of each cell on the game field, it changes color and often the colors of the cels around it.

I should also note that he was the first of the New York School to make a mural - size painting (it measures 7.5 × 10 feet), and that his personal style owes nothing to the athletic gesture that is often identified with certain works by Pollock, de Kooning and Kline, or the subtle applications of the hard - edge geometry of Reinhardt, or the fields of suffused and unbroken color in Rothko and Newman.

These are inscribed as a series of regular loops resembling a Slinky on opaque fields of color, often in smaller paintings.

A late group of paintings from the mid -»40s, the «Pelvis Series,» depicts a color field, often sky blue, through the outlines and sockets of carcasses.

Often staining both sides of the canvas, her paintings operate as fluid scrims between still life, color field and pattern and decoration.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

In Gorky's most effective and accomplished paintings between the years 1941 and 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

Veils may sound flimsy, and color - field painting has had to battle a reputation as lightweight compared to Abstract Expressionism before it and Minimalism to come, but these are not like the physical curtains that often heighten the illusion in trompe l'oeil painting.

Her early work explored floral motifs often combined with a grid or color field, blurring the dichotomy between abstract and figurative work.

Often a white wall or fabric serves as one color field among many, as for Jean - Pierre Pincemin beneath his parallel stripes or for Mark Devade below his red squares and chevrons.

In Gorky's most effective and accomplished paintings between the years 1941 — 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

Color - field paintings fall into the category of art often derided with statements such as «My six - year - old could do that.»

Often associated with Abstract Expressionism, color field painting is characterized by flat areas of color spread across the picture plane.

The artist's vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish's work.

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.

Rothko is known for his signature color field «multiforms»: rectangles of bright color and layered hues, often rendered with minimized evidence of the painter's hand on monumental vertical canvases.

His figures inhabit mysterious landscapes and ambiguous architecture, often composed of wide swaths of color that contain echoes of color field painting.

Though they reacted against the gestural wing of Abstract Expressionism, Noland and Louis felt an affinity with non-gestural, «imagist» branch (e.g., Clyfford Still, Mark Rothko, and, later, Barnett Newman), who all worked on a heroic scale with large fields of color and simple, often unitary, imagery.

Tobey is most notable for his creation of so - called «white writing» - an overlay of white or light - colored calligraphic symbols on an abstract field which is often itself composed of thousands of small and interwoven brush strokes.

In her paintings of the 70s, Steir often combined realistically painted flowers with a grid or color field, on one hand paying homage to admired Minimal artists Sol LeWitt and Agnes Martin, and on the other, questioning the dichotomy between abstraction and figuration.

Stained Color Field Abstraction was pioneered by Helen Frankenthaler.She diluted her paints and poured them onto canvases often lying on a floor or table.

Jenkins's diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning — artists who shared his instinctual working method.

Eventually, Saito abandoned his theater work to focus on developing his particular style of Color Field abstraction, often featuring calligraphic characters drawn from an alphabet of his own creation.

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.

Julian Jackson, Aura Study 2 Oil on prepared paper 26 x 22 inches May 12 — June 30, 2011 «Aura is often defined in near mystical terms as the halo or penumbra of colored light surrounding an individual in a field of radiant energy.

Feeley, alongside Morris Louis and Kenneth Noland, worked against the grain of the prevailing Abstract Expressionists in the 1950s and his work is most often associated with the Color Field painters.

This relationship between the pictorial and the physical space is often linked to Color Field painting, a style of abstract painting -LSB-...]

Essentially a line of vitality and energy that seems to assert the mystery of existence and the dynamism of life, its unassailable verticality in the midst of vast field of color often sparks a mystical connection with the verticality of viewer standing in front of the painting.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

Frankenthaler was often associated with her mentor and professor, Paul Feeley, whose own style was based in the Abstract tradition, and who also had a hand in sparking the young artist's development in Color Field painting.

But she often coupled her criticality with a sly humor and an exacting, alluring beauty, as in the 1983 — 88 series «Objects of Desire,» for which she cut out items from magazines, ranging from dresses and bowls to bondage gear and classical statues, which she then rephotographed and printed on solid fields of color that matched their frames.

In the CANADA exhibition, the colors are much more vibrant than anything found in Minimalism or Arte Povera — often applied through staining in the manner of the Greenbergian Color Field painters — and the supports are mostly unstretched sheets of fabric (including a striped dishcloth) pinned to the wall.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

The Rust and Blue painting was a part of the Color Field Movement because No. 61 relies on subtle tonal values that are often variations of a monochromatic hue.

Whereas the artists in this exhibition have been aligned with various movements — Color Field, Pop, and Post-minimalism — they often stand on the periphery.

While this term is often associated with American painting, specifically Abstract Expressionism and Color Field painting, Declaring Space addresses this concept from an international viewpoint, blurring national labels for a set of spatial themes that were evoked in abstract art in the latter half of the twentieth century, where the boundaries of traditional pictorial space were crossed and a new realm of abstract theater was engaged.

Thomas is often associated with the color field painters of the so - called Washington Color School; Morris Louis and Kenneth Noland, the most prominent, were Thomas» contemporaries and, like her, were based in Washincolor field painters of the so - called Washington Color School; Morris Louis and Kenneth Noland, the most prominent, were Thomas» contemporaries and, like her, were based in WashinColor School; Morris Louis and Kenneth Noland, the most prominent, were Thomas» contemporaries and, like her, were based in Washington.

These groundbreaking early works, often folded and crumpled while the paint was still wet, stand apart from the typical output of Gilliam's Color Field contemporaries, utilizing canvases with beveled edges that break the 2 - D plane.

In addition to connecting his use of central forms and repeated motifs, often in a symmetrical cluster, to the work of Morris Louis, Kenneth Noland and other Color Field painters, Feeley's supporters often emphasize the affinity they share with Noland's targets and chevrons.

She often creates spaces that envelop viewers in vibrating color fields, elevating yarn beyond the body to engage with architectural space.

The abstract Color Field painter Morris Louis would famously remark that Frankenthaler's Mountains and Sea was «the bridge between Pollock, and what was possible,» but the staining in her own work is often accompanied by paint drawn, scrawled, and splattered, and redolent with associations.

The figures in Muntean's oil - on - canvas works often look like they are about to appear or disappear due to the layering of abstract gestures and fields of color.

Morris Louis and those color field painters are often shown without frames.

While 20th century experiments with the effects of pure color — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stcolor — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stColor Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stance.

Creating both hard - edge and more ethereal paintings, Stadler united directions in Color Field and Minimalist art, often bridging the gap between the intellectual and sensual and the conceptual and spiritual.