Sentences with phrase «flat picture surface»

In the 1960s, English painter John Hoyland's Color field paintings were characterised by simple rectangular shapes, high - key color and a flat picture surface.

Not exact matches

The structures, with their flat surfaces and near right angles, certainly look deliberately carved (pictured left).

Lie down on a firm surface, with knees bent and feet flat on the floor, you can also have one leg extended, as shown in the picture.

Even now that the girls are long past their picture book reading days, these books still cover the flat surfaces of our house.

I know that's true of any painting (the famous Maurice Denis quote immediately springs to mind: «It should be remembered that a picture — before being a warhorse, a nude, or an anecdote of some sort — is essentially a flat surface covered with colours assembled in a certain order») but I have a heightened sense of it here.

Here's Patrick Heron's take on it: But the secret of good painting — of whatever age or school, I am tempted to say — lies in the adjustment of an inescapable dualism: on the one hand there is the illusion, indeed the sensation, of depth; and on the other there is the physical reality of the flat picture - surface.

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.

The Fleischer Studios of the 1920s and»30s created a flat world with rhythms that travel on the surface of the picture plane.

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 words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

In contrast to the traditional verticality of the renaissance picture plane, which is dependent on head - to - toe correspondence with the viewer, with his combines Rauschenberg introduced the «flat - bed» plane and in doing so completely reoriented the pictorial surface so that it was no longer representative of a world space, but an analogue of operational processes.

When you look at it, the flat surface of the picture seems to heave and ripple before your eyes.

Or as artist Frank Stella defined it, «a picture is a flat surface with paint on it — nothing more.»

They are painted in a trompe l'oeil manner with the picture plane serving literally as a flat surface and these illusionistic images are cross referenced with their physically real counterparts strung throughout the gallery.

The Cubist style emphasized the flat, two - dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time - honoured theories of art as the imitation of nature.

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.»

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.

In Nude (Study), Sad Young Man on a Train his transitory though acute interest in Cubism is manifested in the subdued palette, emphasis on the flat surface of the picture plane, and in the subordination of representational fidelity to the demands of the abstract composition.»

The subjects allow the artist to explore the relationship between deep space and the flat plane of the picture's surface.

On the final printed image, Maisel reintroduces dimensionality to the flat picture plane by integrating collage elements or physical cuts into the surface.

gestural surfaces of abstract expressionist works and towards flatter surfaces and a more minimal color palette, Stella's paintings reflected his statement of the time that a picture was «a flat surface with paint on it — nothing more.»

This sense of play continues within the frame of the picture as athletic figures and the patterned interiors or landscapes they occupy fuse into one with the flat surface of the painting.

I'm always trying to activate the space between the object that's really about this flat surface on the wall and the space between it and the viewer, so that the viewer is engaged perceptually through the movement of the strokes, the opticality, and in following my body's movement across the picture plane like a kind of mimesis.

«It is well to remember that a picture, before being a battle horse, a nude woman or some anecdote, is essentially a flat surface covered with colours assembled in a certain order.»

He pieces his picture surfaces together from many kinds of flat material, painting on them as he goes.

The New York Times art critic John Canaday was highly critical, but Clement Greenberg proclaimed abstract expressionism in general and Jackson Pollock in particular, as the epitome of aesthetic value, enthusiastically supporting Pollock's work on formalistic grounds as the best painting of its day and the heir to an art tradition - stretching back to the Cubism of Pablo Picasso, the cube - like pictures of Paul Cézanne and the Water Lily series of Claude Monet - whose defining characteristic is the making of marks on a flat surface.

[2] Coined by the influential art critic Clement Greenberg in his essay called «Modernist Painting», the phrase «integrity of the picture plane» has come to denote how the flat surface of the physical painting functions in older as opposed to more recent works.

I suppose I'm assuming that the old masters and modern painters have always been concerned to create pictures without «holes» and «bumps» but that they have maybe achieved this in two different ways — modernist with flat planes parallel to the picture surface; old masters with an unbroken «skin» across the entire picture.

It seems at least theoretically possible that a similar investigation into new ways of acknowledging the picture surface might turn up something other than parallel flat planes.

As Maurice Denis remarked, «We should remember that a picture... is essentially a flat surface covered with colours arranged in a particular pattern.»

By picking one specific area of only one of the spheres (surface temperatures), while it might be one piece of interesting information and it certainly it is quite true that surface temperatures have been flat at or near record high levels, focusing on this fact alone and the fact that climate models failed to have forecast it, does very little overall good if the goal is to educate the public about the bigger picture, i.e. anthropogenic climate change as an energy imbalance affecting the whole Earth energy system, including all the spheres discussed above.