Sentences with phrase «earlier paintings structure»

An evenly ruled grid gave his earlier paintings structure.

Not exact matches

While many contend that the earliest cognitive deficits are caused by damage to the striatum — a structure deep in the brain known to be severely affected in HD — recent evidence suggests that this claim may paint an incomplete picture of the widespread changes occurring in the brains of HD patients during the very early stages of the disease.

His early paintings were structured and cubistic, influenced by C

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

This exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus on objects arranged to emphasize composition, form and structure.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

The present painting possesses a much more daring color program than those earlier paintings while retaining their essential structure and compositional framework.

Roberta Smith, a famous art critic, placed Guyton with some younger painters that were countering the structures of late Modernism by revisiting the early Modernist cusp between abstraction and representation, entering the area previously populated with Malevich «s robotlike peasants, Jawlensky's masks, Mondrian's flower paintings.

The exhibition COLORS OF DESCENTS presents three positions in painting, that share influences from the visual structures of early 1990s computer - game graphics.

[2] Krasner's mastery of composition — of a painting's structure — had an important impact on Pollock's artwork, as did her maturity as an artist, a trait evident in her willingness to reevaluate and rework earlier paintings.

Nor do I think, like Sam, that «Red Label» is a flat image; I think it has, along with quite a bit of Smith's very early, freely - brushed but clearly structured work of the late fifties, more spatial «life» in it than much of the stuff that came later, work that attempted to wed painting to literal three - dimensionality.

Celebrated for her exquisite structures of fused metal and glass, the exhibition will also include works in a range of media, from early ceramic and wood sculptures to seminal explorations in metal to dynamic paintings and works on paper.

The paintings that follow here, through the early 1950s, further distill this abstract mood, with formal structure evolving into ever - more - expressive deployments of color and paint - handling — the siren flash of Orange Personage (1947), the blood and bones of The Hotel Corridor (1950).

From the visual representation of time (known by Latham as the «quantum - of - mark») in the early spray paintings and One - Second Drawings, to the book reliefs of the 1960s, the roller paintings of the 1970s and the late glass tower works which incorporated bits of all theorems, John Latham maintained a steadfast devotion to exploring the most complex cosmological ideas and questioning the traditional notions and structures of art, science and philosophy.

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

«Alex Katz's importance lies, certainly, in his experimentation with the form and structure of painting — his early experiments with shaped supports were revelatory and pioneering — but just as significant is his investigation into the mechanics of perception,» explains Kelly Baum, Curator of Postwar and Contemporary Art at the Met.

Structured chronologically, the exhibition consists of works on paper from various stages of the artist's career, beginning with summary pencil scrawls of the early 1950s, when Twombly was a student at Black Mountain College in North Carolina, and ending with three works from 2008 filled almost to bursting with blood - red spirals of acrylic paint.

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

That structure, to which he returned again and again in his Concrete Cabin series, could conjure nostalgia, loneliness or unease; in Doig's major early paintings, concealed homes induce an uneasy sense of trespassing on private property.

This early landscape painting by Mondrian displays some of the first hints of his later geometric style: the arms of the windmill and bands of cloud set up strong verticals and horizontals that structure the composition.

In the early 1890s, Monet painted numerous views of a stand of poplar trees along the bank of the river Epte and there found a rigid but satisfyingly contrapuntal compositional structure with which he experimented, in his epochal manner, with the optically dematerializing effects of variously filtered light.

The exhibition presents three positions in painting, that share influences from the visual structures of early 1990s computer - game graphics.

For the exhibition, Montgomery has deepened a dialogue with early Modernism in a series of paintings that set his texts overlaid on the composition structures or «ghost outlines» of a number of Malevich paintings.

Dialectical oppositions or conjunctions were already present in this early show: bed / map; figure / ground; audience / stage; body / sight; home / exile seem to form the structure of Kuitca's painting and sculpture.

I think my goal is to create my own language within a structure that is referential to the history of painting and abstraction because I think in a lot of ways abstraction started with that early modernist work.

Allan Doyle, a doctoral candidate at Princeton University, spoke about Quatremère de Quincy's criticism of skeuomorphism in art, while Svendsen Finne taught a brief but in - depth lesson about the divine skeuomorphic structures in the early Renaissance paintings of Piero della Francesca, and McGill doctoral candidate Jeffrey Moser discussed the patterned moldings of pre-modern Chinese ceramics.

Richard Armstrong observed in his 1987 essay, the continual presence of a diagonal axis structuring Tworkov's paintings that can be traced back to the early 1950s.

Because the works «take by force a structure that was on the verge of asserting itself» (as Felix Guattari wrote on George Condo's paintings in an early text, 1990), they generate disquieted and often humorous images: incongruous, absurd, anachronistic, kitsch, regressive or hybrid works.

The early paintings on display similarly repress color in favor of «pure» dynamism, particularly a series of Dynamic Structures, which simulate a kinetic quality in their sharp configurations of parallel strokes.

Adams's amalgamation of structure, line, and color places her in the strain of abstract painting that seems to have originated in New York in the mid-1980s, when Mary Heilmann began showing again after a long hiatus, and dates back earlier to Lee Krasner's paintings with floral forms.

These, along with the multi-paneled, «stacked» paintings, which Gorchov began making in the early 1970s, are to this day the primary support structure for the artist's work.

Look at «Four Nesting Spirals» (1999 - 2000), one of Siena's enamel and aluminum paintings, and the early work of Frank Stella comes to mind: Its inward progression of painted rectangles, congruent with the panel's exterior shape, clearly recalls the «deductive structure» of Stella's early black, silver and copper paintings.

This exhibition will reveal Moran's painterly development, from her early and more gestural paintings to her later works which, though more structured and detailed, often include added elements of collage and layering.

Georgia O'Keeffe, in her Lake George by Early Moonrise (1930), and Arthur Dove, exploring shape and color in his Holbrook's Bridge to the Northwest (1938), are inspired by organic forms in the American landscape, while industry is celebrated in paintings such as Ralston Crawford's At the Dock (1941) and Charles Sheeler's The Web (1955), a conceptual view of industrial structures.

The retrospective spans 50 years and traces Brodsky's evolution from early representational works focusing on architectonic city structures, through the minimalist landscapes executed during the artist's early years on Long Island, to the Abstract Expressionist works that manifest Brodsky's deepest engagement with the painting process.

The exhibition work highlights the artist's exploration of the relationship between color, structure, and abstract illusionism, beginning with his paintings of the early «60s and «70s.

At a very early stage he starts adding various materials to the ground of his paintings and they have various functions; they change the surface, but also influence the composition, undermining the more literal shapes and painted forms, or are used to reinforce the more formal linear structure.

These works on paper, which include the Black Drawings (1991 - 92) and Models (1994), explore facial structure and emotional expression in ways that resonate with and make overtures towards these earlier paintings and the continuum of art history.

Ashley Bickerton came to prominence in the early 1980's with a series of fabricated, logo - plastered structures that cheekily satirized conceptions of painting, artistic signature and style.

Black paintings, red paintings, paintings composed of gold and of earth; a long, inky «Automobile Tire Print» on 20 sheets of paper; «Elemental Structures» of found stone, wood and metal: The early»50s were a fertile time intellectually for the young artist.

With these earlier paintings, created throughout the early 1960s during her time in America, Iannone commenced her exploration of vibrant color structures and intimate visual narratives.

In his Torn Sky series of the early - to - mid 1970s Goode literally slashed layers of serene cloudscapes with razors and knives revealing other painted canvases below the surface, or even the structure of the canvas itself.

Structured around the paradigmatic Vietnam II (1973), the exposition also shows other stages not as well known, such as his early informalist phase, the sphinxes he created in the 1950s, the napalm paintings of the 1960s, the portraits of dictators and politicians — including Franco — or their mercenaries and interrogations, all of which help to convey the complexity of Leon Golub's work.

Celebrated for her exquisite structures of fused metal and glass, the exhibition also includes works in a range of media, from early ceramic and wood sculptures to seminal explorations in metal to dynamic paintings and works on paper.

Accompanying Triptych (Q3 - 75 # 1) were its three preparatory sketches and an earlier painting from 1973, Pyramid (Q3 -71-3), emblematic of Tworkov's exploration of both structure and improvisation.

The works follow the structure of his earlier motor oil compositions: multi-paneled abstract paintings in wooden frames that replicate a found 1940s Le Corbusier design, but made with local materials.

Opening: «Alexi Worth: Green Glass Doors» and «Joyce Kozloff: Maps + Patterns» at DC Moore Two new shows at DC Moore: Alexi Worth presents a new collection of works painted of sheer mesh fabrics, and there's a show from Joyce Kozloff in which the artist has, according to the press release, «returned for the first time to the Islamic star patterns that structured her early art.»

The figure - ground structure hinted at in her earlier paintings solidifies dramatically, with an impending central shape that looms out at the viewer.

In the early 1970s, Noland introduced a grid structure into his paintings, reminiscent of Mondrian.

Two new shows at DC Moore: Alexi Worth presents a new collection of works painted of sheer mesh fabrics, and there's a show from Joyce Kozloff in which the artist has, according to the press release, «returned for the first time to the Islamic star patterns that structured her early art.»