Sentences with phrase «flat field of painting»

In the exhibition «Ground», James Hyde uses the flat field of painting as a topological arena that ties together the physical substance of painting and the ground on which it is laid, extracting spatial dimensions and new meanings from this relationship.

Not exact matches

By pairing the first - an abstract painting whose flat forms are schematic and derived from markings observed on a soccer field with the second - a silkscreened canvas depicting a nearly identical painting photographed at an angle, Uglow creates a visual experience charged with the potential of both abstraction and representation.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

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.

Assistant to the Director of Operations David Johnson then explains the efforts to install this extremely large, flat field painting in our galleries.

The series, which Marden began painting in 1973, inspired by his trip to Greece, has been hailed by many, including Roberta Smith, for whom its «seemingly flat monochrome fields were constantly flipping open, yielding suggestions of light and space and moody atmosphere.»

Often associated with Abstract Expressionism, color field painting is characterized by flat areas of color spread across the picture plane.

Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.

Color field painting had no figure or ground, only flat stretches of paint.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

After making paintings of straight, repeated lines he moved to placing objects within the paintings themselves in an attempt to magnify their «objectness» to move away from flat fields of color.

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.

When asked about the subject matter of her luscious, fluid paintings, the American Color Field painter Helen Frankenthaler (1928 — 2011) once remarked, «If I am forced to associate, I think of my pictures as explosive landscapes, worlds, and distances held on a flat surface.»

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

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.

While some pieces are gnarly tree formations isolated atop pedestals to illustrate their status, others are flat wall - mounted compositions made of cast broom clippings and quinoa, that create large color field paintings of, in fact, large colorful fields.

Executed in flat, intensely pigmented acrylic gouache, these new paintings retain Curry's collagist sensibility: highly finished areas (some done with an airbrush) contrast with fields of roughly slapped - on brushwork.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

Compound Flat # 62 is composed of a rectangle and triangle fashioned from wooden sticks suggestive of stretcher bars that have been combined or superimposed; ridges and fields of red, gray and whitish epoxy clay transform this patched scaffolding into deconstructed painting; Manolo Valdes» heavily impastoed (and faceless) takes on Renaissance portraiture come to mind.

And I think there is a tremendous distinction between this kind of internalized abstraction and what Greenberg called color field painting, which is nothing but color design on a flat plane.

Frankenthaler's invention of soak - stain, which involved pouring turpentine - thinned oil paint (and later, watered - down acrylic) on a flat, untreated canvas, opened doors to the next big thing, Color Field painting.

Drawn and sometimes painted, onto paper or on canvas or linen, the compositions envelop the viewer's entire field of vision and appear at once fragile and monumental, flat and illusory.

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 seminal Open paintings consisted of flat color field backgrounds on top of which Motherwell drew three charcoal lines, usually in the shape of an open «U.» These paintings often referenced elements that Motherwell saw in his natural surroundings, such as a door or window.

Frankenthaler explored a variety of linear components in her oil paintings of the 1950s, but in the 1960s she shifted her focus, embracing acrylic paints to explore open, flat fields of color, evident in the large and glowing 1973 painting «Nature Abhors a Vacuum.»

The emergence of Colour Field effectively divided Abstract Expressionist painting into two styles -(1) gestural and full of contrast and action; (2) smooth, flat, and relatively incident - free with large fields of rich colour.

The Flat Field Works includes multifaceted works of sculpture, painting and textile that are simultaneously beautiful, functional and referential to art history.

These painters used large areas, or fields, of flat colour and thin, diaphanous paint to achieve quiet, subtle, almost meditative effects.

The artist Kenneth Noland, who was a close friend, saw Annesley's sculptures as the extension of colour field painting: as painting got flatter, Annesley saw the potential of sculpture to take colour to another dimension.

Designed first in architectural software, each painting is a flat, glossy field of color, bisected by a single knot of compressed wireframe — presumably of something that looked more stable from the front.

Cézanne's solid planes of color insist on the surface of the painting as a flat field against which the painter acts.

With their evocative, bodily forms, transparent veils of aqueous color and flat surfaces, Moyer's paintings forge distinct traces of 20th century art — Surrealism, Color Field painting, Pop and 1970s Feminist art — into a contemporary vision uniquely her own.

In particular he was a fan of the all - over action - painting style of Jackson Pollock, and the flat surfaces of the Colour Field Painting movement, embodied by Mark Rothko andpainting style of Jackson Pollock, and the flat surfaces of the Colour Field Painting movement, embodied by Mark Rothko andPainting movement, embodied by Mark Rothko and others.

There are several different types of line paintings presented in Curvilinear: some feature central, narrow fields of color while others have flat unmodulated backgrounds; some contain only uniform lines, or lines with sharp spikes, or «claws,» as Feitelson called them; and others have thick, curving lines of multiple colors that bend together in a gentle sway.