Sentences with phrase «field paintings such»

The heavy materiality of Mountains of the Moon had enabled a diaphanous chromatic lightness, but around this time he began to explore much subtler interfusions of hue in paintings like Snow Morning (1959) and Golden Day (1960), which seem to anticipate color - field paintings such as Jules Olitski's works of the mid -»60s.11

Not exact matches

The reason free market proponents have such a field day painting the public sector as inefficient is because so many public services involve complex, difficult to measure tasks which market mechanisms can not handle.

The findings may have implications in a variety of applications, he says, such as painting, producing synthetic fibers, and performing mass spectrometry, to name a few that depend on the precise control of tiny droplets of liquid augmented by electric fields.

It follows men occupying themselves in a field with reading, painting, listening to music, and such.

After image occurrence on such display and electric field is switching off, the necessary microcapsules remain painted.

Whether you choose to take part in activities such as whitewater rafting, painting and carving, yoga or mountain biking or just relax around the villa and wander into the padi fields and woods for a stroll, it is impossible not to slow right down to the Balinese pace of life here where tranquil bliss surrounds you.

The walls are painted with different themes, such as Hyrule Field with Hyrule Castle in the background, as well as the Master Sword resting in the forest with the Moon looming over.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water - based acrylics for their new stain, color field paintings.

His ability to explain what was wrong with a Color Field painting or a Neo-Dada sculpture interested me far less than his belief that such stuff could not possibly affect the work he was doing.

Such landscapes are «all - over» paintings, slices taken from a boundless field of pictorial incident.

Smaller, juicier paintings such as «Goldenrods» and «Field of Wildflowers» see Katz using motifs from nature to experiment with the «all - over» approach to composition, whereby no one part of the composition is allowed to prevail over the others.

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.

In the black pourings Pollock was sometimes letting the paint bleed into bare canvas — and this was a precursor to Colour Field painters, such as Helen Frankenthaler Hon RA.

There have been some major acquisitions in recent years (notably of sculpture, such as Thomas Banks's portrait bust of Anthony Addington), the Center still being able to acquire at the top end of the market (other than in the field of paintings).

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

Among the second group of abstract paintings at Firestone are works such as «Thunderbird» (1970), where a geometric cluster of blue lines, each about the width of standard masking tape, floats on a vibrant, flat red field.

Color - field paintings fall into the category of art often derided with statements such as «My six - year - old could do that.»

A realist who came of age during an era predominated by abstraction — Abstract Expressionism to be exact — Katz has been linked with a number of artistic tendencies, such as Color Field painting, Pop Art, and realism — both «new» and the traditional.

Jaclyn's artwork consists of paintings and drawings that blend together aspects of prevalent settings found in sports culture, such as athletic arenas, fields, courts, and gymnasiums.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

Along with other works painted during the same period, such as Field for Skyes, in the collection of the Hirshhorn Museum and Sculpture Garden, and Clearing, at the Whitney Museum of American Art, Blueberry demonstrates Mitchell's ability to depict space on canvas.

Some of the paintings have achieved an extraordinary degree of popularity even reverence, such as the qualities of spiritual succour many find in Rothko's «colour field» painting.

A major influence on Pop Art, Minimalism, hard - edge and color field painting, Ellsworth Kelly's best - known works are distinguished by sharply delineated shapes flatly painted in vivid color, such as Colors for a Large Wall (1951).

It took guts to select a field of art such as landscape painting and persist into a venture around which so much else bustles with attitudes of antagonism towards the very art one cherishes.

There was also increased recognition for significant artists whose importance might have been overshadowed previously, such as 84 - year - old Sam Gilliam, whose abstract «color field» painting at New York's Mnuchin gallery sported a red dot sticker — meaning it was sold — early on.

Abstract Expressionism can be divided into two tendencies: Action painting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gpainting, which included Jackson Pollock, Willem de Kooning, Mark Tobey, Lee Krasner, Joan Mitchell and Grace Hartigan, among many, many others; and Color Field Painting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph GPainting, which included such artists as Mark Rothko, Helen Frankenthaler, Jules Olitski, Kenneth Noland and Adolph Gottlieb.

Most of the paintings present familiar scenes along the highway or just outside the city, such as fields, parking lots, and isolated buildings.

Working alongside Color Field painters such as Kenneth Noland and Thomas Downing, Gilliam elaborated upon Color Field processes and aesthetics while subverting Greenbergian notions of the «integrity of the picture plane,» and disrupting the boundaries between the visual world of painting and the tangible world outside it.

Works such as Yodel Me Back to Orville Overhaul (1998) extends the vocabulary that Wirsum began in the 1970s, which combined motifs from graphic illustration and comics with hard - edged geometric patterns and designs that spoke to the flat horizontality of Color Field Painting as well as the intricate patterns and rhythms of Latin American and Oceanic folk art.

Coming of age as an artist at the time as nonrepresentation styles of painting such as Abstract Expressionism, Color Field, and Minimalism were accorded the highest critical prestige, he continued to paint representational images incorporating formal innovations that these movements introduced.

(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).

The experience of his compositions and the multitude of techniques he uses to create them — such as collage, monotype, relief printing, paper marbling, and decalcomania — intensifies the complexity of his unique visual universe while provoking closer contemplation of the continuing role of painting as a vital field of contemporary research.

Peter Holm is a Danish artist working with painting in the extended field, extracting qualities from multiple disciplines such as architecture, design and classical painting.

[1] Greenberg's writings mostly dealt with non-objective art, Abstract Expressionism, and other forms of formalist and abstract styles, such as color field painting.

For Greenberg they possess a radicalism that comes more from Impressionism than Cubism, while his later dissatisfaction with increased mannerism of the Abstract Expressionist paintings led him to coin the term Post-painterly Abstraction under which he included the novel tendencies in abstraction such as color field painting, hard - edge abstraction, and the Washington Color School.

Meanwhile, Frankenthaler's recent high prices are owed in part, Prouty suggests, to current interest in Colour Field paintings, to which Frankenthaler made such a contribution, and partly to well - mounted exhibitions by Gagosian Gallery.

His research on geometric shapes and the interaction of colors remodeled the 20th century art scene, attempting to provide an alternative to Abstract Expressionism and concepts such as color - field painting, geometric abstraction and op art.

Farmed fields are depicted as patterned rectangles, slices or squares set against each other in vivid colours such as in the recent painting Fall Fields (2017).

Furnas» Flood paintings, such as Red Sea Parting, 2006, and Last Day (Red to Black in 6 Parts), 2013, raise the stakes on colour field painting, rendering it overwhelming, apocalyptic.

His decision to utilize the imagery of trees and fields in his recent paintings also signals a larger, transpersonal backward arc — an arc that passes far above his childhood and swoops down to roost among the nineteenth - century Romantic and Transcendentalist thinkers who had such a formative influence on American consciousness.

Fusing the visual idioms of graffiti, Abstract Expressionism, and Color Field painting is no mean feat, but Curry seems to have accomplished it here in vibrant paintings such as Command Minus and Head Trip.

Hubbard's videos «The Collapse of the Expanded Field I - III» (2007) and «Lost Loose Ends» (2008) bring together an assortment of materials, such as poured paint, flowers being cut with scissors and a Mylar drape pierced and torn by an old - fashioned walking cane.

While in America — he did not return permanently to England until 1994 — Jones became preoccupied with process painting, particularly the way the Color Field painters, such as Helen Frankenthaler, Jules Olitski, and Larry Poons, practiced it.

In turn, this scientific knowledge is enabling Walter to innovate artistic concepts such as collage, colour field painting and pattern - making.

Influenced by Jackson Pollock and other Abstract Expressionists upon moving to NYC, she developed a unique method of painting, the soak - stain technique, in order to create her color field paintings, which were a major influence on such other color - field painters as Morris Louis and Kenneth Noland.

By treating the words as shapes, den Breejen generates conceptual narratives and explores a personal take on movements such as minimalism, «action painting,» grid and color - field painting, and hard - edged geometry.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

She witnessed first hand painting's resurgence in the 1980s through the vibrant Köln - based art scene, where radical and experimental approaches to painting by artists such as Martin Kippenberger and Albert Oehlen began a dramatic expansion of the field.