Sentences with phrase «field paints over»

At other times, the background field paints over the tape, leaving it in the gap between design and material.

Not exact matches

I walked over to one of Van Gogh's paintings — Wheat Field with Cypresses, if I remember correctly — and as I looked at the painting, the unmitigated reality of it overwhelmed me.

To monitor isolated populations over time, FUNAI researchers conduct regular flyovers, taking aerial photos of houses and fields, estimating populations, and noting hair styles and patterns of body paint.

Accumulation of dirt, growth of mnold, even flaking of paint, is naturally occurring over the life cycle of some 15 years that the product is used in the field.

Field of Lost Shoes doesn't tread any particularly new ground, but it certainly treads over very solid ground and Wiedmann has painted on a particularly grand canvas, writing emotionally rich music that is very easy to like and will surely prove very popular amongst those people who like the no - holds - barred - when - it - comes - to - emotions approach of 1990s John Barry or James Horner (and who are willing to give this score a chance).

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.

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

Across the field the entourage debates if painting is dead, the entourage debates if painting is over, the entourage debates if painting has anything left to say - they want to close the gate.

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressionists.

Many of Dan Christensen's bar paintings relate to my line paintings of 1968 - 1969 which in turn relate to Peter Young's all over dot paintings which in turn relate to Larry Poons» all over dot paintings which also relate to Dan Christensen's line paintings whose close valued color fields relate to Marden, Pettet and Humphrey.

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

The dye will saturate, run, and dry over the course of the exhibition — eventually turning the white felt from pale blue to almost black — transforming the material into a colossal color field painting, a rolling mountain landscape, or even the hump of a whale.

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.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Less mentioned, yet equally grand is the production of Markus Lüpertz, who has been active in the fields of painting, sculpture, poetry, editing, education and piano playing for over fifty years.

This field of reference is then painted over in a manner evocative of post-war Abstract Expressionism, from its sedimentary layers and floating blocks of color to the swipes and splatters of its more animated moments.

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

At Theodore: Art, Eric Brown, in «Punctuate,» examines the tension of figure and ground in paintings that are fun and funny — caprices of 1960s Color Field art. 7 At David & Schweitzer, the esteemed Brenda Goodman finds expression in the working and reworking of her materials, with etched - over abstractions that read as psychological portraiture.8

She favors optical activity over conceptual rigor in «pencil paintings» from 1968, where diagonals in several colors of pencil on acrylic create a single vibrant field of blue - gray.

In many of your paintings the foreground and background together create an all - over atmospheric field, while in your recent paintings, large star shapes become significant points of focus constructing much more of a figure / ground relationship.

All the works in the Pond series are square format — at the heart of the exhibit are seven paintings, each 60 x 60 inches, composed of shifting color fields with ruled lines hovering over the surface.

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.

She has recalled, «When I was a child, one day I was walking in the field, then all of a sudden, the sky became bright over the mountains, and I saw clearly the very image I was about to paint appear in the sky.

A pioneer of color field painting in the 1950s, Walter Darby Bannard (1934 - 2016) was committed to color - based and expressionist abstraction for over six decades.

Although the Japanise artist Yayoi Kusama creates in a diverse field that consists of everything from painting to sculpture, every single piece she ever produced has one same motif all over it — endless dots.

The curator wrote that this work is one of her «favorite paintings... soft and muted and really capturing the feel of the fog settled in over the fields.»

A new series of paintings offers an interplay of black and white rectangles as they appear to swell and warp over a field of subdued grey.

Multi-panel paintings in oil and smaller paintings on canvas and aluminum formats explore the tundra fragmented into puddles and bits of ice with small cascades flowing over the rocks, reminders of accelerated seasonal changes melting ice fields and sea ice.

The aerial view of Landscape, painted from memory, lends to a feeling of flying over ever changing abstracted fields.

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.

Zhang Huan employs a thick impasto technique and all - over style that engulfs the surface of each Poppy Field painting.

Cox worked as a field archaeologist and scientific illustrator for over 10 years in Oregon, experiences which profoundly influence his painting.

Instead of the vibrant palette featured in his last exhibition, Reveles» recent paintings display a much more subdued range of color, as grey and light blue linear masses hover over dark fields of black.

For all the surprise it caused over the Atlantic, abstract expressionism was not the start of something, but rather a beautiful ending, the epic finale of a long tradition of Romantic nature painting, gone up in the fireworks of Newman's zips, Pollock's drips and the smoky miasma of Rothko's colour fields.

[18] In the early 1980s he produced a series of paintings of words over sunsets, night skies and wheat fields.

Touch (1999) resembles a fingerprint whose whorls are limned in dust, while several other paintings explicitly recall the warp and weft of finely woven gauze as the marks seem to float like mist over the painting field.

Lewis» Untitled 1965, in which thick purple paint seems to melt over a field of greys, is a fabulous painting.

Her development of a grid in the late 1950s wherein she gently inscribed penciled lines over subtle fields of color marked a turning point in the history of abstract painting and established the geometric and spatial language that she continued to refine over the ensuing decades.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

Including over sixty works, many of which have never before been shown in the United States, the retrospective provides a fresh and in - depth examination of the evolution of the artist's aesthetic and illustrates the significance of his contributions to the field of postwar painting.

Zombie Formalism, a term coined by Walter Robinson and fleshed out by Jerry Saltz, refers to the glut of look - alike, generic abstract field painting produced over the past few years by young, mostly male, artists.

Based in Silver Spring, Md., over the past 35 years, he has painted major figures in a variety of fields.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

Her brightly incandescent new paintings and works on paper in gouache and acrylic sing with elaborate patternings and mandalas of color layered over fields scraped and burnished like antique silks.

Each of the three paintings featured a stenciled thicket of black lines crisscrossing a field of bright orange brushwork and white gesso, with a pitch - black area taking over the right third of the support.

The main component styles included: the animated all - over Action - Painting (developed by Jackson Pollock, Lee Krasner); Gestural Painting (developed by Willem de Kooning); Colour Field Painting (practised by Mark Rothko, Barnett Newman, Clyfford Still), and «Hard - Edge Painting» (invented by Frank Stella), most of which were executed on a monumental scale.

In some paintings, the clarity of the grid becomes muted by an all over color field.

Ron Graff has painted still lifes for over forty years and color field and gestural abstractions for the last eight.

All one needed to do was follow American art, where the process was at work in exemplary fashion — from Jackson Pollock's all - over paintings and Barnett Newman's colour fields to the black - in - black paintings of Ad Reinhardt.

In other paintings, the overall color field will be derived from many different tones of that color, perhaps laid over a backdrop of dissimilar hues.