Sentences with phrase «earlier canvases which»

In general, the colour is becoming either sharper or more sonorous, in fact more dramatic; the handling of paint more obviously expressive; and the content of each painting more solidly a «scene» or «situation» of greater weight or elaboration than earlier canvases which seem to be concerned instead with an enlarged «incident» in close - up.

Not exact matches

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

Instead of the Ford's folding canvas top, the Lincoln Mark X had a retractible roof, which seemingly every manufacturer was trying to build in the early 2000s.

Canvas 4 Plus A315 specifications are similar to Micromax Canvas Nitro A310 which was launched earlier this month for Rs. 12,990.

Canvas Selfie 2 Q340 is the successor to Canvas Selfie A255 which was launched in India earlier this year for Rs. 15,999.

Kirby and the Rainbow Curse is the successor to Kirby: Canvas Curse, which released on the DS a decade ago and was an early example that demonstrated the handheld's stylus - based controls weren't a simple gimmick.

His early dyed - and - sewn canvas pieces, which sold for $ 450 in the 1960s, now bring $ 200,000, while wood works that sold for $ 450 in 1965 are reaching $ 450,000, and a 1966 installation of the 26 letters of the alphabet, composed of soldered tin, sold at auction to MoMA for $ 1 million.

Her latest canvases in bold, colorful patterns, which she completes at a ferocious pace, retail in the mid — six figures at New York's Gagosian Gallery and London's Victoria Miro; one of her rare early paintings sold at auction in November 2008 for $ 5.79 million, a record at the time for a living woman artist.

At the Garboushian Gallery in Beverly Hills Seery showed several large new canvases (that seemed larger due to the gallery's own compressed size) in which recur the saturated color, numinous composition, and graceful but urgent gesturality that drove his earlier work.

Take Michel Majerus's Tron 3 (ocker Pantone 143)(1999), which dovetails a silk - screened vignette of early digital - era graphics into the corner of a square of yellow emulsion: if you removed the silk - screened canvas and completed the square, it could have been a wall painting by Günther Förg, an artist of the gallery's original programme.

As in earlier works drawing is achieved via construction, lines are real, the edges of joined or overlapping parts but the plywood gives the «drawing» more precision, more clarity when compared with lines created in earlier paintings by joining or grouping canvases, which are inherently softer.

At yesterday's press preview, Massimiliano Gioni, the museum's artistic director and co-curator of the ambitious exhibition, recommended that the works be viewed beginning on the second floor where early canvases for which Ofili is best known are on view, and then progressing on to the third and fourth floors.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

Understood in their broadest definition, the drawings and photographs assembled here include a wide range of material, among which are an 1864 photograph of the forest of Fontainebleau by the little - known French photographer Constant Alexandre Famin; a pastel completed earlier this year by Jasper Johns; a 3 x 5 inch Cezanne figure drawing; a new 6 1/2 x 10 foot landscape drawing by Ugo Rondinone; a digitally - manipulated photograph of the musician Björk by Inez van Lamsweerde; a small piece by an outsider artist known as the «Philadelphia Wireman,» who carefully bound his drawings up with bits of wire so they are barely visible; a recent charcoal on canvas by Gary Hume; and a 1949 sketchbook by Tony Smith.

Mythical, exotic and dream - like, in some instances referencing Gauguin and Matisse, the canvases on view here were produced in the late 2000s and early 2010s and include Ofili's «Metamorphoses» series which takes its name from Ovid's poem.

She is known for her vast and vivid improvised painted canvases, which in her early career were inspired by Jackson Pollock.

The strange violence that has been exerted on the canvas, and therefore to the Nurse of Greenmeadow herself, with paint dripping down the surface, recalls the shock and scandal with which de Kooning's celebrated paintings of women were received in the late 1940s and early 1950s, puncturing the myth of the woman in art.

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

Still explains the «ascending verticality» and «aspirational thrust» of his canvases throughout his career as taking root in his early landscape painting which he described as «records of air and light, yet always inevitably with the rising forms or the vertical necessity of life dominating the horizon... And so was born and became intrinsic this elemental characteristic on my life and my work.»

That instinct for finding common ground between old and new, rarefied and popular mediums is also much in evidence at the Whitney show, which tracks Stella's career from those early canvases into recent sculptural experiments with 3D printing.

Her reputation was made in the early 1960s by her atmospheric, monochrome canvases on which she would lay down simple graphite grids.

The canvas is one of a series of canvas works done by Coupland over the past five years, many of which are a conscious revisiting of the work of Roy Lichtenstein that focuses on his late 1960s and early 1970s work.

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

Gerhard Richter: Colour Charts also features an earlier work, Sänger (Singer), 1965/1966, a Photo Painting with a colour chart of various shades of red painted on the obverse side of the canvas, which provides an integral insight into the artist's conception of the series.

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

The painting, a series of vertical red and blue lines subtly graduated in width, went to a private American collector for # 2,561,250 ($ 5.1 million), almost double the record established at Christie's London earlier that year by the artist's dotted canvas Static 2, 1966, which brought # 1,476,500 ($ 2.9 million), far exceeding its # 900,000 ($ 1.8 million) high estimate.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Organized by Suzette Lane McAvoy, the museum's adjunct curator of contemporary art, it presents canvases from every phase, beginning with early, freely painted concentric circles and going through the more rigorous chevrons, diamonds, plaids, asymmetricals and stripes of later years to his recent «Mysteries» series, which revisits the concentric circle motif of his youth.

Co-curated by Alfred Pacquement, the former director of the Centre Pompidou (which staged a groundbreaking retrospective of Hantaï works in 2013), the exhibition primarily tracks Hantaï's early use of his «pliage» method - an intricate technique of folding and knotting an unstretched canvas before Hantaï painted the configuration, unfolded and then stretched it, so that colourful geometric shards and unpainted negative space were revealed.

In many of the works, the artist confronts the viewer with a direct gaze, a departure from iconic earlier works in which the point of view that remained within the canvas itself.

The oil on canvas works were a departure from the newspaper images and personal photographs which form the subject matter of earlier «Fact» painting exhibitions, «The Elusive Truth» (2005) and «Beyond Belief» (2007).

Showing the artist's growth as a painter and his continuing interest in uniting painting and photography to test new strategies of figuration, the series, which debuted in London earlier this year, actually includes photos that the artist took himself and ink - jet printed onto the canvas (along with some photos he didn't).

Further, in this series of works on paper, of which Wine, Rust, Blue on Black is a prime example, the punctuation of blue recalls earlier multiform canvases, such as Untitled (Multiform), 1948.

In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

In many of the works, the artist confronts the viewer with a direct gaze, a departure from iconic earlier works in which the point of view that remained lay within the canvas itself.

On view are two early paintings, Untitled 69 - 3 (1969) and Untitled 73 - 5 (1973), which exemplify the first stage of Chung's development, in which the artist tore segments of paint from the canvas substructure in freeform patterns.

Baby wipes and other detritus are affixed directly to the surface, along with dirtied - up computer printouts of Martinez's own earlier paintings, which are stuck into the canvas with push - pins.

Since the early 1960s, he has created his series of Icons, monochromatic canvases on which he applies industrial bulbs.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

On one side of this canvas, which sticks out of the wall like something from a surrealist painting, bears on one side one of the blurry, photographic images that Richter specialised in during the early «60s.

In this survey, organized by acting Kunsthalle director Margrit Brehm, Armleder's early works will be re-created and documented alongside a selection of abstract canvases and «furniture sculptures» — both of which play on the utopian seriousness of Russian Constructivism.

Along with the White Paintings, which Rauschenberg completed in 1951, the Black paintings signaled the young artist's awareness of the status of the monochromatic canvas within the lineage of modernist painting, particularly as it was developing in the late 1940s and early 1950s at the hands of artists such as Barnett Newman (1905 — 1970), Franz Kline (1910 — 1962), and Willem de Kooning (1904 — 1997).4 Although the White Paintings and the Black paintings explored related formal strategies, the Black paintings in particular have been read as a response to the innovative rethinking of the monochrome that was occurring in those years.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

The current exhibition includes more than 50 of them, from a cigar box on which Pollock painted a western scene in the early 1930s to the 1954 canvas, White Light, one of his last paintings.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

Although his early works were made in many various colors, in 1957 he developed his blue pigment, which he painted in a special resin suspension that gave his canvases a sense of great visual depth, for which they are renowned.

As early as 2002, the oil on canvas word painting Talk About Space (1963), a takeoff on the American billboard in which a single word is the subject, was expected to sell for $ 1.5 million to $ 2 million from a private European collection.