The less ridged and fixed shapes allow the viewer's eye to move around freely and flow outside of the fixed confines of
a conventional picture plane.
Not exact matches
Collection, as Walter Hopps observed, is probably the first of Rauschenberg's works to evince all the characteristics of a Combine, that hybrid of painting and sculpture that the artist developed in the 1950s.1 Yet, despite the challenge to
conventional categories posed by its collage and the addition of objects that transgress the limits of frame and
picture plane, Collection stands primarily as a reflection on the contemporary status of painting.
By containing this sort of internal dynamism, the work brings new liveliness to the
conventional two - dimensional
picture plane.
Then Analytical Cubism (1908 - 12)- probably the most intellectual of all the avant - garde movements - which rejected the
conventional idea of linear perspective in favour of greater emphasis on the two - dimensional
picture plane, scandalizing the arts academies of Europe - along with visitors to the Parisian Salon des Independants and the New York Armory Show (1913)- in the process.