Sentences with phrase «flat canvas surfaces»

Garth Weiser exhibition will present several artworks that built up tension between the intricate layers of color and flat canvas surfaces.

Not exact matches

In his abstract expressionism, each canvas is filled edge to edge with grand strokes, creating a simplistic portrait with a deeper texture, as the dry paint occasionally adds a physical dimension to what can be considered a flat surface.

In the eighties her paintings on the flat surface moved into space as wooden canvas - covered environments, evolving into paintings into which one could literally walk.

Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

[8] Painters started deliberately calling attention to the flat nature of the surface of the canvas.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

Deeply inspired by Matisse, his work is a negotiation of the flat surface of the canvas in which figuration becomes form and deeply intimate things become neutral.

From a distance, the paintings appear static, each canvas a flat surface rendered in a single vibrant color.

In its overall structure, the canvas is both a flat surface and a three - dimensional object.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvases.

«With a painting, people expect paint on a canvas or pigment in liquid on a flat surface, I'm trying to do something different.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

The sinuous lines combined with round cutout shapes create harmonious movements and unexpected surprises within the flat surfaces of the canvas.

Matthew Radford removes the effects of gravity in his painting process by working with his canvas flat upon the floor and employing improvised walkways across the surface of the larger pieces.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

And while these artists» practices are formally linked by their «challeng [ing] the notion of the canvas as a flat surface,» the exhibition's strongest assertion is that there is no singular Puerto Rican aesthetic — a still important point of resistance within a long lineage of Eurocentric museums» limiting our collective understanding of «non-Western art» by naming it as something distinct («primitive,» «craft,» «artifact») from the trajectory of art history otherwise taught in schools.

In his abstract paintings from the 1960s, single - colored geometric shapes pulse rhythmically across their flat ground planes, or torque the surface of the canvas.

Jones favors lines, circles, squares, and ovals formed by shaped canvases that he carves, cuts, etches, and paints like a craftsman, while Slater layers the paint over the surface resulting in images that are never flat, line - driven, or hard - edge.

While from a distance (or reproduced in images) my paintings may seem illusionistic, the technique denies neither the physical texture of the paint nor the flat surface of the canvas.

Part texture (collage, oil on canvas, pastel on paper) and part flat surface, her use of line with geometric shapes in the horizontally moving base juxtaposed against the lines evaporating upwards makes for an effective image, although again subtle.

This led him in 1958 to visit the Venice Biennale: the experience of Lucio Fontana's slashed canvases, which dramatically introduced the element of space into otherwise flat surfaces, was succeeded by direct contact with Piero Manzoni, whom Fabro met when he moved to Milan in the following year.

Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors — at times monochromatic, at times colorful — resulting in a densely stratified surface.

There doesn't seem to be a secret that needs uncovering: when I ask what prompted him to move from the lush, textured surfaces of the paintings he produced in the 90s — canvases that seem to have a warm bloom across them like a beautiful mould — to the flatter, looser, more painterly style he employs today, once again, he has no complex rationale.

In the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the wall.

Spanning several generations, these five artists challenge the notion of the canvas as a flat surface for painted images.

Often painted under a sunlight that is clean and flat, the shimmering exteriors of Estes» New York appear to be immaculate replicas of their subjects... The surfaces of Dubrow's canvases are, as the gallery describes them, almost geological in appearance.

The paintings have a physicality that is described through the monochromatic brush strokes and the punctured holes of the drawn lines that pierce the surface of the canvas, yet from a distance, they appear to be flat and suggest a fine line drawing.

As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, 3 - D perspective illusion and references to external subject matter were all found to be extraneous to the essence of painting, and ought to be removed.

In these canvases, the artist used gray to establish uniformity between flat surfaces and dimensional objects, whether real or implied, using everyday items such as a stretched canvas, a drawer, a ball, a newspaper, and a coat hanger.

Here, Saville takes a crack at representing the human body, this time testing whether the flat surface of a canvas can achieve the effect of sculpture.

Paul Cézanne was a strong presence throughout the exhibit, his deep interest in determining and creating complex spatial considerations while working on the canvas» flat surface was one thread that bound each work in the exhibition.

There is a lot that can be done with a flat, bounded surface, even if each artist's surface of choice might vary, materially, along a continuum that extends from the time - worn painterly convention of canvas through to industrially - sourced Dibond aluminum panels.

In my mind's eye I see Ad eternally creating his «last painting,» workmanlike, in a methodical dance around a supine canvas, balancing the quickly drying paint in each corner, seeking an even, flat surface with no trace of his sure hand or the small brush he was brave enough to rely on.

The riotous shapes and shades are tamed by his meticulous surfaces, which are mirror - flat despite being done on stretched linen canvas.

I rolled out as much canvas as possible along my studio floor working flat surface and using mixing bowls to mix various colors.

Through this technique Frankenthaler emphasized the painting's flat surface of the canvas; her methods proved influential among her contemporaries including Morris Louis and Kenneth Noland and led to her association with Color Field painting.

The paint texture, marks and subtle variations in color, and bleeds / drips / rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the «skin» covering the flat canvas.

Moving into sculptural forms Remi creates a vision deeper than the flat surface of a canvas.

In this exhibition several examples are presented that include: hard - edge painting and visual perception; calligraphy and abstraction; gestural and geometric abstraction; flat and textured surfaces; painted and unprimed canvas; and bipartite compositions.

With the show In Shape, In Color, Laget has given the shaped canvas an effective sculptural presence without deviating from the flat surface.

Wiley is very particular about his canvases having a smooth, flat surface.

Whereas all of the artworks routinely hang on the wall and are created on canvas with flat surfaces, they lack the very presence of the medium that has come to define them, paint itself.

His resultant Veils would address formalist concerns of the canvas surface as an expansive, flat, nonfigural field.

Artists of the 1960s responded to the painterly character of Abstract Expressionism with a cool, linear approach absent of personalized brushwork, refocusing attention on the flat surface of the canvas and applying pigment consistently to achieve «an all - overness.»

By contrast, the Monochrome art of the 1970s was an attempt to create an authentic Korean art, using the flat surface of the canvas as the fundamental ground for expressing passive, calm, and meditative harmony.

Even in his freest inventions he restored the flat, physical reality of the surface by letting his pigment clot or by slapping the unsized edges of the canvas with his paint - dipped palms.

Viewed in this context, «Mountains and Sea,» in which the paint was soaked into the canvas (instead of lying on the surface), was a quintessentially modern painting - i.e., it was totally flat.