Sentences with phrase «effect of abstract art»

The pioneering abstract painter Wassily Kandinsky (whose work is pictured) suggested that the emotional effects of abstract art are «objective, determined by the characteristics of the colours and their interactions».

Not exact matches

Though it isn't quite as flashy as some of the more explosive nominees, Scott Pilgrim mastered the oft - tried - but - rarely - successful art of translating the more abstract aspects of comic book art - such as sound effects and panel transitions - and brought them to life in a style that homaged not just sequential art, but classic video games.

In her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effect.

But these are his most significant years, and Prima Materia does tell a story, one less involved with the alchemical interests the show's title suggests, or the ethnographic influences implied by the accompanying selection of objects (Hopi kachina dolls, Yup» ik masks), and more concerning the effect on an established practitioner of the turn from abstract Surrealism to Abstract Expressionism in postwar American art.

Rauschenberg's abandonment of illusionistic depth effects — whether of conventional representational art or of the abstract expressionists» vast, immeasurable spaces — seems to come in part from an attachment to the physical realities of this world rather than to the less tangible possibilities of an inner vision.

When the mesh of lines dropped away, he was free to concentrate on his abiding commitment, the non-figurative exploration of colour and the effect on the retina of the juxtaposition of pure colours (he insisted on the term «non-figurative»: all art, he would say, was abstract).

Ultimately, Hans Hofmann became renowned as a modern art history's Great because of his explorations with the relativity of color, his push - pull technique and his ability to produce abstract effects of movement, space, and depth.

New York was the center of this important phase in the development of abstract art and a whole new generation known as the Abstract Expressionists of the New York School (names like Willem de Kooning, Jackson Pollock, Arshile Gorky, Lee Krasner, Mark Rothko, Franz Kline, among others) embraced it to spectacular effect.

And the second event «BEIJING VOICE: Leaving Realism Behind» discussed the effects and interpretations of the cross-fertilization of abstract art between the East and the West.

The name (Orpheus was a mythological poet and musician of ancient Greece) was coined by French art critic Guillaume Apollinaire when describing the «musical» effect of the abstract paintings by the Cubist Robert Delaunay (which comprised overlapping planes of contrasting or complementary colours) in order to distinguish them from Cubism generally.

Addressing the viewer on a deliberately emotionaland instinctive level, these works, abetted by their exuberant titles, among them Some Fun (1993) and Dippy Dappy Dabby (1993), set out to question the implication that aesthetically pleasing art is inherently insignificant.While ostensibly abstract, the paintings in fact depict medicinal pills, and can be seen as a stylised depiction of the psychological effects of happy, mood - enhancing drugs.

Certainly the MoMA exhibition resonated deeply on a cultural level, as it had with his compatriots Romare Bearden, Charles Alston, and Gwendoline and Jacob Lawrence, but most clearly for Lewis, African art opened a path to the aesthetic possibilities of abstracted «plastic effects.»

Born in Besemer, Alabama, in 1939 — during the Jim Crow era when rigid segregation was in effect — Jack Whitten belongs to the generation of abstract artists that emerged in the early 1970s, more than a decade after Minimalism, Pop Art, and Color Field first came on the scene.

Bobrow's abstract and modernist grid paintings intersect Koolhaas's theories with art critic Rosalind Kraus's interpretations of grid; they are in agreement on the grid's effect of anti-humanist rigidity and as a myth, (New York, the utopia), or mythological symbol (a Greek cross).

Resembling abstract butterfly wings, the works also call to mind «the butterfly effect,» introduced by a mathematician and meterologist in the 1960s, which maintains that the slightest movement of a butterfly's wings could eventually cause a tornado to appear — a ready amalogy, perhaps, to Grotjahn's quietly provocative experiments within the history of abstract art.

One effect of this increased European influence was the gradual emergence of a school of abstract art: initially Cubist - oriented, later geometric and colourist in nature, it provided an obvious contrast with native representationalism.

The exhibition curated by Paul Carey - Kent is a thorough investigation of the nature of negative space and absence in the language of art, and exemplifies how spacial types in art implicitly effect the viewers experience, not merely as an abstract rationale of»em ptiness» but as an effecting presence across all artistic media.