Sentences with phrase «dimensional quality of paint»

Accordingly, Grosse seeks to pictorially open up and dive into the space and surface of the images, contesting the two - dimensional quality of paint on canvas.

By letting them lean against the wall, which reveals the gap between the two planes, I attempt to show the hidden three - dimensional qualities of painting and its relationship to the wall that it always relies on.

Not exact matches

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

Roger Brown: The first group of sculptures was inspired by the feeling that the paintings themselves had a three - dimensional quality, so they very easily could be taken as models for three - dimensional works.

Characterizing the qualities of this new work in a 1965 essay of the same title, Judd assessed the importance of the paintings of Jackson Pollock, Mark Rothko, Barnett Newman and Clyfford Still in the development of three - dimensional work and references the work of his contemporaries, such as Lee Bontecou, John Chamberlain, Dan Flavin, and Claes Oldenburg, among others, as examples of this new kind of art.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

The other nominees include Michael Raedecker, from Amsterdam, whose paintings use thread and wool along with thick layers of paint, giving a three - dimensional quality to his work.

There is, in fact, a distinctly sculptural quality to the sunset paintings, with their undulating three - dimensional surfaces made up of painted bars — McLean, typically unpretentious, describes them as «real lumps of stuff».

The three - dimensional quality of Halley's work asserts the object status of the paintings in a way that photographic reproduction simply can not represent.»

Sculpture, along with the architecture of Manhattan, offers the three - dimensional inspiration for her two - dimensional works, and the geometry of such jaunty paintings as Blue Swag has some of that built quality.

She was drawn to the fragility and hardness of glass, its liquid quality as well as its capacity to adapt to the two - dimensional status of painting.

Although Athanasios Argianas's «Song Machine» works possess a similar minimalist aesthetic — unlike Stamkopoulos's sculptures, which tackle the formal qualities of painting in three - dimensional space — Argianas's interest lies in the limit between material and immaterial structure i.e. information.

Yli - Mayry's dynamic work is distinguished by her deft use of the pallet knife which she employs to achieve multiple effects, from a thin, even coat to thick lines, to a three - dimensional quality made by scraping lines into the painted canvass.

This exhibition, to be shown at Museo Picasso Málaga until 17 September 2017, brings together Francis Bacon's powerful solitude, Lucian Freud's carnal angst, Michael Andrews» encapsulated ego, Frank Auerbach's three - dimensional painting, David Bomberg's emotional force, William Coldstream's rigorous measure, Ronald B. Kitaj's multiplicity, Leon Kossoff's visceral quality, Paula Rego's subversion and Euan Uglow's proportion, all of them artists associated with what has come to be referred to as the School of London, a label that has not, however, been accepted by art historians or by the artists themselves.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Figurative works by Francis Bacon and Alberto Giacometti, which explore the human body and add a psychological dimension by means of painting, are followed by works of Josef Albers, Piero Manzoni, and Lucio Fontana that emphasize the support as such in its three - dimensional character and material quality.

The works on paper are attempts to bring some of the qualities of Devine's earlier abstract paintings into a kind of three - dimensional reality.

The strange quality of the paintings comes from their landscape feeling without any traditional three - dimensionality; they have a strong two - dimensional feel in spite of perspective devices, some of which act in contradiction to each other.

His career seemed to move inexorably toward creating an extra dimension, as his paintings took on the sculptural quality of shaped canvases and pushed into the gallery space, becoming more and more three - dimensional.

Renowned for his bold use of colour, inventive forms and, more latterly, the three - dimensional quality he achieved with thick layers of acrylic paint, Hoyland was strongly influenced by his experience of American Abstract Expressionism in the late 1950s and 1960s and was friends with many of the acclaimed American artists of the time (including Barnett Newman, Mark Rothko, Robert Motherwell and Helen Frankenthaler).

Like many of Edge's earlier resin pieces, they are painterly yet have a three - dimensional quality that plays with the tension between illusionistic painting and literalness of sculpture.

This problem causes our paintings to appear flat or at least lacking the vibrant 3 - dimensional quality present in many of the masters we admire.