Sentences with phrase «field paintings made»

Not exact matches

Made up at Netheravon on Feb. 14, 1915 the unit contributed in developing daylight bombing tactics (their motto «Lead the Field» reflects this expertise) and the fin of their jet was painted with the emblem of the fox, received from Fairey Fox aircraft that the squadron flew in 1926.

The Best Choice Competition Size is made from light wood panels, features painted, uniformed men, and a traditional - looking field for a truly classic foosball look.

In order to make sense of the emerging field of social and emotional learning (SEL), we developed the Ways of Being model to paint a picture of the whole social and emotional learner — describing the attitudes, skills, and behaviors that exist within a person who is socially and emotionally competent.

Barnard Environmental Studies Magnet displayed several student - made paintings of owls (Sufi, field notes).

17 In mid-century France, as in 17th - century Holland, there was a tendency for artists to attempt to achieve some sort of security in a shaky market situation by specializing, by making a career out of a specific subject: animal painting was a very popular field, as the Whites point out, and Rosa Bonheur was no doubt its most accomplished and successful practitioner, followed in popularity only by the Barbizon painter Troyon (who at one time was so pressed for his paintings of cows that he hired another artist to brush in the backgrounds).

Throughout 1968 I made paintings with rollers, stains, hard edge borders and lines across intense colored fields.

«Sometimes I landed in the color - field genre because I was making more reduced paintings with shapes I collaged together.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

I should also note that he was the first of the New York School to make a mural - size painting (it measures 7.5 × 10 feet), and that his personal style owes nothing to the athletic gesture that is often identified with certain works by Pollock, de Kooning and Kline, or the subtle applications of the hard - edge geometry of Reinhardt, or the fields of suffused and unbroken color in Rothko and Newman.

An influential artist in the fields of kinetic sculpture and experimental filmmaking during the mid-to-late twentieth century, Breer made stop - motion films that grew out of a desire to imbue his paintings with movement.

The paintings by this great Color Field innovator, now 80, looked as every bit as fresh as they did when they were first made in the»60s and»70s — prompting some fair goers to ask the gallery, «who is this young artist you are showing?»

That year he made new dot paintings on white fields that introduced an abstract and new compositional awareness to his dot paintings that emphasized the unique character of each picture.

On the Bowery I made drawings for word - poem paintings that never got made and I began a series of 8» square border paintings with fields painted with rollers.

When he returned to New York City in the Fall he made a new series of dot paintings on multi-colored fields.

Just before that I was making combine pieces using wood and stone in relationship to a white painted field.

These paintings do not feature the luminous color fields that made Rothko famous.

An important distinction that made color field painting different from abstract expression was the paint handling.

His large color - field canvases, made entirely with spray paint, contain hallucinogenic and elusive visions, hinting at images, which never quite come into focus.

That year Young made a major series of colored dot paintings on white fields that skyrocketed him to international attention.

Previous rounds have been broad in scope and concept, ranging from topics of activism to architecture, and including disciplines such as design, media arts, drawing, film, installation, intervention, literature, painting, performance, photography, print making, sculpture, and others, such as scientific field work.

At the same time, her almost decorative technique of making human and animal figures components of formal composition, through the arrangement, or insertion, of color fields within the pictorial space, credits Kudo as an aspiring successor of the modernist formal painting championed by Matisse»

Five paintings structured after works by Kandinsky and Malevich — McElheny's Crystalline Prism Painting I, II, III, IV, and VI — feature press - molded and polished glass prisms inset into a field of black, matte oil paint brushstrokes, visible behind or through a surface made of a sheet of «museum glass».

Now his city is making amends in a spectacular way, including his stunning 1969 painting April 4 on the walls of David Adjaye's new National Museum of African American History and Culture, where it's red - stained purple field captures the deeply bruised atmosphere following Martin Luther King, Jr.'s assassination.

«And he employs this system to make large - scale, totally immersive color field paintings that are utterly transcendent.

Mackie has titled the exhibition Painting the Weights, a term used to label the process of establishing the physical make - up of an object within the field of digital animation.

Even critics otherwise sympathetic to advanced painting in the 1950s were made apoplectic by Newman's huge, minimally inflected canvases — fields of monochromatic paint with a vertical stripe or two — and they have provoked vandalism from the time of his first solo show at the Betty Parsons Gallery in 1950.

2016 Hype, Creative Space 220 Painting Remnants (solo) Factory 49 Abbotsleigh Alumni Exhibition, Grace Cossington Smith Gallery Annual Group Exhibition, Factory 49 The Paddock II: virtual fields, Factory 49 Unmake / make / dénouer / nouer (joint) Factory 49 Paris Pop Up

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».

Well, like all good abstract art, the masters of color - field painting have made it appear simple and effortless.

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

This photographic subject matter reflects on another kind of speed or immediacy in image making, and one that deeply impacted the field of painting.

In her own words, Summer Wheat makes artworks — one of which is currently included in the show «Expanding the Field of Painting» at Boston's Institute of Contemporary Arts — that are «ugly but beautiful.»

Sarah Wiseman Gallery presents in June «Line & Surface», an exhibition examining the work of Simon J Harris, Steven MacIver (whose work «Divide and Rule» is shown here courtesy of the artist and Sarah Wiseman Gallery), Henrietta Dubrey and Mark Beattie, making connections across the fields of painting and sculpture.

The «one - shot painting» stain technique of color field was the innovation of Helen Frankenthaler, first accomplished in «Mountains and Sea,» made in 1952, when she was 24 and unknown.

His esteemed intellect not only undergirded his gorgeous, expressive paintings — frequently featuring bold black shapes against fields of color — but also made Motherwell one of the leading writers, theorists, and advocates of the New York School.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

While for Rothko the side of the painting had color to it that not only showed the stages of its making but also indicated an environmental continuity between the painting and its site of placement, this strip, finished with a neutral light - reflecting color, signified a concept of separation between the discrete field of painted canvas and its surroundings.

A formal tension in Ferris's work exists between types of mark - making: fields of spray call to mind a quasi-photographic, Richterian blur, while scraped - on graphite and textured lines of oil pastel bring the paintings back into a non-objective realm.

After making paintings of straight, repeated lines he moved to placing objects within the paintings themselves in an attempt to magnify their «objectness» to move away from flat fields of color.

Making a studio of the great outdoors — or at least a potato field, the artist paints with wind, rain, and sunlight.»

His paintings and distilled style went on to influence Bauhaus artists, the Minimalists of the 1960s, Color Field Painting and even iconic fashion designer Yves Saint Laurent, who created the «Mondrian» dress — made with fabric matching the artist's Neo-Plastic color blocking.

In about 1959/1960 he started making lines on fields, this was the beginning of his own work, paintings that were their own and understandable all at once, immediate.

Yet it also put structure over medium, and it seemed to make the lushness of color - field painting or even painting itself a thing of the past.

The term stems from Clement Greenberg's 1955 description of the paintings being made by Barnett Newman, Clyfford Still, and Mark Rothko as comprising large fields of color.

Arcangel extends this idea of accessibility, perhaps less successfully, in «Photoshop Gradient Demonstrations» (2008 — 10), a series of glossy prints that make reference to Colour Field painting, but — as the title discloses — were generated by manipulating the gradient tool in Photoshop.

The piece occupies a space between the ready - made and painting, between Color Field and abstraction.

But Doig wanted to make «homely paintings» — of houses and train stations, fallow fields and frozen ponds, explorations of weather and light that used thickly layered surfaces, complex reflections, and the imperfections of his source materials.

«Judd and Adkins have each made an indelible mark on contemporary art that is critical to understanding its evolution, while Bannard's influence on Color Field painting and Alÿs» work addressing issues of geopolitical and social conflict in urban environments both merit renewed attention.