Sentences with phrase «colour moves the painting»

Equally, looking at Piero della Francesca and Masaccio, it is remarkable how they achieve an almost rhythmic sense of complementary colour, and how the use of colour moves the painting away from the iconic to a new physicality and depth.

Not exact matches

as a christian, i agree that i'm tired of the anti-gay anti-choice rhetoric that ties together religion and politics and paints us «religious» folk with one colour... it's time we start moving on to issues we can solve politically, like providing for the poor and reducing corporate corruption

Smart move, asking your online international readership for their opinion about the paint colour options for the handles too, Kate.

[63] The bodyshop at Cowley holds 429 robots, assembling 425 body panels; the bodyshells are then moved to the neighbouring paint shop where paint robots apply the 14 exterior colour options and optional contrasting roof colours.

As expected you use a new companion — Huey the paint can — to bring colour to the world; we also saw some battles, in which ability and attack cards are selected and painted on the GamePad before the conventional timed button presses to execute moves.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

Often working in series, her painting continued to move between recognisable and imagined forms, revealing her sensitivity to colour and shape extracted from the environments in which she found herself.

His early work was figurative but he moved towards abstraction from the late 1960s onwards, and is renowned for his large - scale paintings saturated with colour.

I was equally moved by the brushes and sticks the artist used to drip and flick paint, still stained with his strong colours.

By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

While collage is an integral part of both artists» work, they use it in different ways: Nelson controls the composition of her paintings by erecting physical boundaries on the canvas with gauze soaked in glue while Gueorguieva uses various means to push and move the colour as it gets absorbed by the raw canvas.

Heron's move to Eagle's Nest coincided with his move into non-figurative painting, and among his first works of the period were the garden paintings, opalescent meshes of colour streaked and dribbled vertically on to the canvases.

When the National Gallery of Victoria moved to St Kilda Road in 1968, it opened its new premises with a controversial bang: a boundary - pushing exhibition of colour field painting and abstract sculpture, laid out amid foil - covered walls.

Katharina Grosse stands for colour - intensive, multi-layered, expansive painting, which moves into space, appropriates spaces or opens up spaces for the very first time.

One painting is a tour de force, even if it is not the most fruitful artistically: a herringbone pattern, it pleats on the curve, it jumps to life as one watches it, moving in opposing directions, like escalators changing its colours (black and white) to pink and cream, and even to alternate stripes of brown and blue; vibrating all the time.

Visually moving in and out of monochromatic space, and snaking across abstract lyrical lines of saturated colour in the painting Jetmaster (2008).

With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric «Colour Charts», bold, gestural abstractions, and «Photo Paintings» of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history.

We follow the brush marks to try to trace back the making process, to analyse the sequence of colours and lines, but it is when we move away from this analytic way of looking to one that is more intuitive and start to enjoy the play of light and colour, transparency and opacity that we become conscious of where the power of Frize's painting lies.

Keserü was so moved by the experience that she felt the need to paint «a cavalcade of these shapes», creating a series of di - and tri - chromatic compositions in strong colours.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

In 1963 De Kooning moved to Long Island, where the light and water caused him to modify his painting and create a new style of landscape painting with lighter colours and less frenzied brushwork.

Hofmann began to study art in Munich in 1898, but in 1904 he moved to Paris, where he was deeply affected by the expressive use of colour that distinguished the paintings of Henri Matisse and Robert Delaunay.

Painting has a history of fooling with expectations, and in representational painting you can contemplate the moves easily: objects can be foreshortened or elongated, defying the rules of perspective; colours can be counterintuitive; visual hierarchies can be messPainting has a history of fooling with expectations, and in representational painting you can contemplate the moves easily: objects can be foreshortened or elongated, defying the rules of perspective; colours can be counterintuitive; visual hierarchies can be messpainting you can contemplate the moves easily: objects can be foreshortened or elongated, defying the rules of perspective; colours can be counterintuitive; visual hierarchies can be messed with.

Through portraiture, landscapes and still lifes, Calderara depicted the people, scenes and objects of his native Italy — all suffused by a delicate, misty light inspired by the atmospheric glow of Lake Orta in Vacciago, where the artist moved in 1934 with his wife Carmela, and where he would work for most of his life.By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

I don't really know much about video art, but Adrian told me about some of the techniques artists use - the importance of the speed and direction in which a camera moves; the way background colour can influence the way you perceive a video, in the same way as a painting or photograph.

The mural - like scale of abstract expressionist painting goes along with a suggestive, turbulent, «expressive» release of colour that is so much more moving than Mondrian's impersonal blues, reds and yellows.

This exhibition brings together recent work with earlier paintings from the 1970's and 80's, highlighting Leapman's move from the early monochromatic canvases to the recent more spacious and contrasting coloured paintings.

A development towards abstraction had been evident in his paintings, for example, Square Leaves (1952) and Winter Harbour (1955) The effect on Heron of the New York painters, together with his move to live at Eagles Nest, overlooking the cliffs at Zennor, that year was a pivotal point in the transformation into his now characteristic language of interlinking forms; his balancing of colour and space.

After his black and white abstract paintings, Stella produced a series of Aluminum Paintings (1960) and Copper Paintings (1960 - 61), before moving into «shaped canvases» with bright hard - edge colour, such as his Irregular Polygon (1965 - 67) and Protractor (1967 - 71paintings, Stella produced a series of Aluminum Paintings (1960) and Copper Paintings (1960 - 61), before moving into «shaped canvases» with bright hard - edge colour, such as his Irregular Polygon (1965 - 67) and Protractor (1967 - 71Paintings (1960) and Copper Paintings (1960 - 61), before moving into «shaped canvases» with bright hard - edge colour, such as his Irregular Polygon (1965 - 67) and Protractor (1967 - 71Paintings (1960 - 61), before moving into «shaped canvases» with bright hard - edge colour, such as his Irregular Polygon (1965 - 67) and Protractor (1967 - 71) series.

They painted bike lanes in both directions and moved the center line to fit between the two lanes, filling the lanes with teal paint, because «that was Jenna's favourite colour.»

When I moved into my first house many years ago, the contractor asked me two routine questions: «What colour do you want to paint your walls?»

I'm as excited as though it were me about to pick paint colours and counting down to move in!

We moved in with every room painted differently (orange peel walls in the living room; dried blood (colour, not real!)

If you have an existing colour on the wall, then you have to paint over it with white before painting the swatches OR paint the colours on art board which you can move around.

Move down one space on the paint chip and that is the colour of our hallway (Colorado Gray).