Sentences with phrase «first shaped painting»

By the time Kelly made his first shaped painting in 1966 with Yellow Piece, the first picture in «Ellsworth Kelly: Singular Forms, 1966 - 2009» at Mnuchin Gallery, it seems to have become obvious to him that he could invent great pictures.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

In another series, the chevrons became diamonds, his first shaped paintings (1964 - 69), by the simple device of butting one set of chevrons upside down against another, forming a tricky squarish picture hung on the diagonal.

Not exact matches

Novelists long ago recognized this truth; literature is full of characters falling in love with the people in paintings, obsessing over enigmatic figures or shapes, feeling intimidated — or intensely disappointed, in the case of Madame Bovary — by their first sighting of a tarry Old Master.

Although the keyhole operates as a flat shape — rather than a portal, or hole into another space — this motif, when it becomes a surrogate for the human figure, introduces spatial depth in Manister's paintings for the first time.

Then I become fascinated with how I can explore my first creative impulse and develop imagery, through the paint itself, associating shapes and experiences to enrich my work.

At first glance, it seems like any other black - and - white painting but more carefully observed, there are traces of yellow and pale salmon that adorn severity of dark shapes, giving the sense of warmth.

She first received public recognition in New York when her richly - colored canvases holding single shapes were prominently featured in the New Image Painting exhibition at the Whitney Museum in 1968 with works by artists such as Susan Rothenberg and Joe Zucker.

Murray introduced her first serious series of thickly painted, shaped canvases in the late «70s.

If these paintings, like all of Kelly's shaped canvases, seem simple at first sight, that's because Kelly has already done the hardest work.

It was the first time anyone had taken a painting off the wall and transformed the cloth into folds and swaths and wraps, and they circumvented a whole series of formalpainterly concerns: the frame, the shape, the wall.

The journey was shaped in part by chance: a quarter century after having first encountered Munch's art at MoMA, for instance, Johns received a postcard of Munch's Self - Portrait between the Clock and the Bed, 1940 - 43, from a friend who had noticed similarities between the bedspread in the painting and Johns's crosshatch motif.

Characterized by mathematically complex compositions of color, shape and dizzying pattern, the term «Op Art,» was first used by artist Donald Judd in his review of Julian Stanczak's «Optical Paintings,» and was later popularized by a 1964 Time magazine article, catapulted the term into main - stream use.

The paintings may be difficult to detect at first, but when moving around shapes will appear before the eyes of the beholder.

In Portraits, her first show in Chicago, the New York based artist presents three medium - sized paintings, each one featuring a head - like oval form, all of them technically dazzling with skeins of parallel dribbles that acutely change direction, forming a veritable undercarriage for hazy and more definite shapes.

I hope it is not too grand to say that when looking at this painting I find that I am thinking first about what a strange thing this is but then about what a strange thing I am, that I can find many different ways of seeing such a «simple» arrangement of colour / shapes.

Denuded of color and shape, they may also be Mr. Oehlen's first completely alive paintings.

Simpson grew up alone with his mother, and when his uncle took him to his first football match at the age of seven, what caught Simpson's attention was not the game but the colours and shapes: «From that point on I drew and painted... That was how I began to work with painting, and it didn't stop.

She was featured in past group exhibitions at the Hole that looked at how digital tools are shaping traditional painting; this will be her first full exhibition at the gallery.

For the first time, he paints with no reference to the shape of the support.

Lines, colors, shapes are arranged in space and while at first the composition doesn't seem to stand out in any specific way, what you're in fact looking at is what art historians consider to be the very first non-objective or abstract painting of the 20th century.

Comprising photographs and paintings by Sheeler along with fashions of the era, Charles Sheeler: Fashion, Photography and Sculptural Form evokes the personalities, glamour, and promise of the Jazz Age, and reveals for the first time how Sheeler's «day job» at Condé Nast shaped his aesthetic vision and artistic career.

Influences converged, passion and intellect were engaged, and seminal moments occurred to help shape the process: in 1962 when Irving Blum (who had taken over Kienholtz's position at the gallery) gave Andy Warhol his first solo gallery exhibition ever at Ferus (the Campbell's Soup Can Paintings); in 1963, when Hopps moved to the Pasadena Art Museum and presented the first retrospective of Marcel Duchamp in the US; in 1966 with Ed Kienholtz's epochal retrospective at the LA County Museum; and in the decade from the late fifties to the late sixties when Ed Moses, Billy Al Bengston, and Ed Ruscha among a handful of others were on center stage.

Focusing on the Museum's collection of modèles, the first and only set of bronzes cast from the artist's original wax and clay statuettes, Taking Shape considers the affinities among sculpting, painting and drawing in Degas's oeuvre.

Sarah Crowner, known over the last decade for stitching together cutout shapes of plain or painted canvas to form rectilinear abstract paintings, is sticking to first principles.

This fall, the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents the first comprehensive retrospective of work by Harvey Quaytman, an under - recognized figure in twentieth - century American painting noted for his monumental shaped canvasses, material investigations, and interest in color as a pure medium.

By 1941, he had his first solo exhibition — a group of paintings featuring shapes of color and light encased in black paint — at the Artist's Gallery, a non-profit exhibition space sponsored by Josef Hoffman and Meyer Shapiro, among others.

Although flawless and harmonious at first, her compositions of weaves, grids, and geometric shapes, even in the application of paint, are filled with imperfections and unexpected distortions, celebrating the expressive, hands - on traditional approach of her creative process.

To amble through the artist's first Hong Kong solo exhibition is to observe 39 ways to amass objects, repeat shapes and layer paint.

By bringing together the Museum's entire collection of modèles, the first and only set of bronzes cast from the artist's original wax and plaster statuettes, and related pastels, drawings and paintings, Taking Shape offers viewers the opportunity to study Degas's artistic process across media.

On first glance, many of his paintings look like pictorial space populated by shapes resembling Sol LeWitt sculptures.

Unidentifiable forms and shapes in intensely bright colours — the first impressions of Darío Urzay's paintings are visual excess.

A couple of the paintings, such as «Hebe» 2011 (pictured) have been split into two sections — at first, the cut is hard to perceive; it disappears within the shadows and shapes depicted on the surface of the canvas — treading a careful line between an impulse towards sculpture whilst asserting the flatness of the painted surface.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

For the first time ever, Abts» paintings will be accompanied by a series of small, previously barely known drawings that she has created over many years alongside her paintings in order to work out the lines, shapes and spatial relationships within her delicate compositions.

The first shaped canvases have a scale, creepiness, and beauty that stand out compared to the fussiness of her paintings from the early 1970s and of her later work as well.

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes.

The exhibition is the first significant presentation to revisit Posen's breakthrough shaped canvases and related paintings since his debut at New York's gallery O.K. Harris, nearly five decades ago.

Now Zwirner's first solo exhibition of Asawa's ethereal, organically shaped sculptures, as well as rare early paintings, works on paper, and vintage photographs of her by Imogen Cunningham, go on view at the gallery's West 20th Street space.

This publication is the first to comprehensively trace this thread in Bartlett's practice, reproducing her newest paintings on canvas, the Blob paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 - 2010 room - size installation Recitative.

This exhibit is the first to comprehensively trace this thread in Bartlett's practice, debuting her newest paintings on canvas, the «Blob» paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 — 2010 room - size installation Recitative.

First, the acrylic paint film is a soft, pliant material, in order to give the film enough rigidity to hold its shape, the acrylic sheet must be reinforced with some type of internal support.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

During this period he began to create his first Abstract sculptures, which, although varied in shape and material, were always coated with white paint.

It was not about the individual artist's «mark» ---- not about who did what first, but rather about an engagement with the paint ---- the «give and take» of shapes, strokes, and space in relation to each other and to the painting rectangle.

Shapes and colors dominated the paintings of Korea based artist Sejin Park for her first New York solo show «Won - Kyung» at Doosan Gallery.

Vertical, curvilinear shapes prevailed in the past decade and also characterize her wall painting Rajasthan (2012), a composition of intersecting forms in green, gray, orange, and red whose presentation here marks its first display outside of Europe.

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

During the 1940s, however, he described the conception of a painting in which «shapes» - or «performers» - first emerge as «an unknown adventure in an unknown space.»

The free event explores the state and shape of contemporary painting, asking the questions «How far have artists extended the boundaries of the medium in the twenty - first century, and what does it mean to be identified as a painter today?