Sentences with phrase «even abstract work»

The Turner Prize is named after the great 19th - century British painter J.M.W. Turner, whose expressive seascapes gave way in later life to impressionistic, even abstract work.

And I don't think these things enter into paintings of, say, the figure, or text, or even abstract work in the same way.

Not exact matches

And though it may seem abstract, even small, I think this single thread of wonder — this thread of tireless thankfulness and awe at what he'd been undeservedly given, at what he saw in the beauty of creation and in the story of the Gospel — is what binds all of Lewis» work together.

This doesn't necessarily tell us much about the more abstract work of Rothko, Pollock or Mondrian, since these artists do not offer even the merest glimpse of a recognisable object for the brain to latch on to.

The abstract print works so well with sparkly accessories for evening or simple courts for the office.

But I knew I wanted something abstract before I even knew his work was on there.

Mel Brooks» granddaughter Samantha, 19, steals the show in slinky velvet gown as she supports him at opening night of West End musical Young Frankenstein Liam Scarlett is a talented abstract, neoclassical choreographer, but his Frankenstein is the least enjoyable full - evening work I have ever seen the Royal

Michael Mann's theatrical debut puts the slick, even gaudy aesthetic qualities he picked up on years worth of commercial work and TV direction on display even as it demonstrates the contemplative, abstract capacity of its maker.

Finding a good puzzle game on the Game Boy Advance is like trying to blow glass: you think it's going to go okay, but hours of work leaves you with an abstract lump that even a pro can't discern and a host of second - degree burns.

If much contemporary abstract painting has a «hands off» mentality, then the work in Phaedo is very much «hands on» even when it is minimal or slight.

Still, starting in the 1950s, the federal city was a cradle for a group of artists who produced colorful, abstract, even joyful works.

Even as her work moved away from the representational to the abstract — a shift that started in 1949 with dull, muddy pieces, such as that year's Untitled — a heaviness pervades the work, as if Martin could not shake her influences and struggled with their weight.

Toward the end of his career, Still's art started to become even more abstract — objects lost their shape entirely, as seen in this 1976 work titled «PH - 1023.»

As such, «Rower's pours come closer to the abstracting nature photos of Edward Weston than to the works of Pollock or de Kooning, painters who, even when most abstract, always left behind traces of the actions of their hands.»

Even though his work is clearly figurative, it also incorporates various elements of abstract art.

Even dedicated fans of his work have inevitably faltered at one or another of his forking paths over the past twenty years, while Bradley, on the other hand, shifts gears without pause: from starkly minimalist to gestural abstract paintings with stops in between, from discomfiting assemblage sculptures to boldly graphic silkscreens, and from jagged, sometimes comic drawings to obdurate geometric sculptures.

At one point as I tried to get more information about a floor sculpture that resampled broken glass, and a set of blue paintings with some subtle white abstract elements on them, the gallery director couldn't even tell me about the work.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

In 1938, several abstract painters living and working in Santa Fe, New Mexico formed a group dedicated to promoting non-objective art in a nation that — even two years after the founding of the AAA — remained skeptical about the merits of abstraction.

My interest in the physical, tactile qualities of painting has been there from the beginning, and became more and more prominent, even in my abstract works.

If you squint, these works might even look like an abstract painting by Barnett Newman or Mark Rothko.

In practice, the term abstract expressionism is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist.

«The subject - matter of Moore's work of 1932 to 1936 is, in some cases, no longer readily identifiable, although the human, psychological element informs even the seemingly abstract work of the 1930s.»

Each work appears abstracted or even unfinished as the debris of the artists» studio — gathered sawdust, wood shavings and tools — lie scattered around the sculptures.

Wyeth's gull paintings are much looser and freer than his earlier work, even containing splashes of color with the wild abandon of an abstract expressionist.

Of the last group of works in the exhibition, John Cannaday wrote in the New York Times, October 14, 1972: «The Cityscape is apparently an inexhaustible source of motifs for Mr. Inokuma, whose new abstract inventions are even more engaging than those in his previous shows....

Even at its most abstract, Diebenkorn's work remains rooted in the outside world, and he is celebrated for capturing his surroundings on canvas without representing them literally.

Layered in image & texture, monumental in - scale, and featuring bold strokes, free gestures, and vibrant colors, works from 1985 to 2005 record in an abstract vein a period of intensified cultural and demographic transition even for an ever - changing city like New York.

Nancy Grossman's best known work is centered on the human head and face, but her transition to those leather masks of hers was marked by a period of equally intense, but far more abstract - and, in the context, even bolder - canvas - mounted assemblages, also predominantly leather and metal, and free - standing constructions.

Also I've been properly educated at the New York Studio School — and by Sam Cornish who introduced me to Stockwell Depot and who on Twitter suggested that some of Peter Hide's work might be described as «mournful» — and by Alan Gouk who in «Proper to Sculpture» suggests that people were making sculpture — even «abstract» sculpture — before the 20th century came along — and by all the unedited openness at Robin's websites.

Through an intuitive and experimental process of working and overlaying, abstract forms and patterns emerge from lush, muted layers of colour, creating a kind of visual conversation or maybe even a psychological portrait.

She even produced several really beautiful and successful pictures, ranging from an early, harmonious work, «Untitled» (c. 1938), on loan from the Parrish Art Museum in Southampton, to «Astraea» (1956), a raw, charged abstract with collage.

The evening made a new record for the American minimalist Robert Mangold (b. 1937) with # 746,500 for a fern green untitled abstract from 1973; one of eight minimalist works from the collection of Marc and Frédérique Corbiau.

However, the context in which his work was placed — a room exclusively containing abstract paintings and sculptures — also pointed to one of the exhibition's most problematic aspects, namely its attempt to link virtually every work or style, even the most purely formalist, to matters of black identity.

In introducing Murray that evening, Varnedoe referred to her work «as dramas of form and color that accept, indeed demand, to play on the more austere terrain of high abstract art, in decisions about push and pull, bright and dark, fragmented and whole, planes and volumes, sculptural and painterly, that move us before we know what they are about.»

Why you won't: Even assuming you enjoy such abstract work, which not everybody does, it may still irritate you that, wherever you stand, the gallery light casts a bright golden glare across some portion of the work, making the painting's symmetry difficult to see.

From the visitors who have identified farm equipment and machine parts in the work, enriching our vocabulary and understanding of the authenticity of Still's account, to those who have visited from Canada and see their home in the brown wheat fields, to the vastness and sublime grandeur of the abstract works, evoking for some, western skies, the great plains, or even, the abstract freedom promised by the western expanse, it is the reveal of the early work that has intrigued both visitors and staff, and speaks to the collection's ultimate home in the west, in Denver.

The auction record for Guston, the abstract work To Fellini (1958), stands at $ 25.9 m. Odessa, offered at Sotheby's London's 5 October Contemporary Art evening sale, is estimated at # 2.5 m — # 3.5 m.

«No one would even speak to her because we were all doing political art... and her work was so «outrageously» abstract.

Even in his abstract paintings, when he abandons geometry and stylised elements and spreads out the paint on canvases in an «illogical» way, it is possible to recognise shapes and patterns that have always characterized his work.

Through an intuitive and experimental process of working and overlaying, abstract forms and patterns emerge from lush, muted layers of color, creating a kind of visual conversation or maybe even a psychological portrait.

She painted figurative works and abstractions, although it might be said that even the figurative works are, to some degree, abstracted.

She works with a minimal, and sometimes even a monochrome palette, creating abstract...

Yet, Kahn's pointed concentration on hue and luminescence moves beyond the constraints of abstract expressionism, in which his teacher worked, to a kind of representation that artfully transcends overt description or narrative, even while maintaining a kind of painterly lyricism hinged entirely on color and its unique application.

As other experts argue, the origins of the abstract art can be found in the 19th Century, in the works by James McNeill Whistler and even Claude Monet.

Even though his work was often abstract, El Lissitzky's was addressing the political situation in Russia and the nascent Soviet Union.

They are kind of abstract, even though there is usually still the idea of a table, or a base with things on it — which is something that was there in some of my furniture in the 1980s, and is in the still - lifes, and continues in the abstract paintings that I am working on now.

They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.

Considerably more abstract than much of Warren's previous work in this medium — though perhaps even more overtly sensual — they recall a whole tradition of manually expressive sculpture, from the early ceramics of Lucio Fontana through Willem de Kooning's bronzes and those of William Tucker to Franz West's plaster «Passstucke.»

Much of an abstract painter's work is done days, months or even years before he or she ever picks us a brush and approaches the canvas.