Sentences with phrase «figure composition seems»

Not exact matches

It seems to me that a Fourierist interpretation, in conjunction with Papety's drawing, while it in no sense completely «explains» Courbet's allegory, at least helps to elucidate some of its otherwise inexplicable aspects: for example, just why Courbet chose to include the figures he did in his vast composition.

The figures in your paintings often seem hidden in some way, whether they are cropped out of the composition, appear as a silhouette, are covered by branches, or only their hands or feet are visible.

Earlier works, exhibited in Chelsea, reflect prior fascination with bright colors and dark tones but contain the same elements of lush layered color and figures that seem to provide easy ways into the compositions.

His figures appear more like objects arranged in an environment rather than living organisms, and the compositions seem like frozen moments or film stills.

However, the composition is fractured into further sections, as both the figure and ground seem to shift up and down across the length of the canvas.

Nor will seeing the works of their students, even those who became as renowned as Robert Rauschenberg or Kenneth Noland, or «artist's artists» like Ray Johnson and Pat Passlof, or even simply figures who seem to have made a profound impression on the life of the school but less so on the wider world (for instance, Dan Rice, who arrived at Black Mountain intending to study musical composition but ended up becoming an Abstract Expressionist painter).

That's how he embarked on a strain of pure painting that seemed quite radical at the time: working with a prestretched canvas and unmixed oil paints, and figuring out his composition as his brush moved across the canvas.

Whereas at a glance his easily identifiable, vibrant paintings with their dynamic compositions may seem simply aesthetically pleasing, their deliberate beauty is a critique on society's preoccupation with materialism and superficiality, as beneath this façade lies the true meaning of his work: each figure is depicted as indifferent, faceless satires defined entirely by the folds of their gowns and the glitter of their jewelry.

What stands out most about this figure, and the composition, is the ghost - like quality of his eyes — a shadow of an iris and pupil make the right eye seem visible and almost knowable.

The two - figure formula removed the need for more complex compositions, which Millais seems to have found difficult.

If we observe Elizabeth Murray «taking cues» in her Sentimental Education, 1982, «from the clunky figures and objects in late Guston,» and if we note Whitney's «deceptively casual paint handling, largely adapted from Guston,» we might also consider Joan Snyder's Beanfield with Music, 1984, as a work that explores and draws on both the»50s Guston, who seems already (again) to be flirting with figure, and the later Guston, with his bizarre and darkly humorous landscape compositions.