Sentences with phrase «form and color rather»

Diebenkorn's practice is unique in that he deftly marries the flat color and planes of brushwork so lauded by the Abstract Expressionists with representational subjects that are influenced by some of Matisse's visual tropes and his dynamic creation of space through form and color rather than perspective.

Not exact matches

Rather than simple mimesis of the natural world, the Expressionists chose to radically distort the forms and colors of the world in their raw depictions in order to arouse an emotional response from their viewers.

And while there are some surface - level congruities to Grant's selection and her paintings (color, form, texture), I wonder how accurate that really is, or rather is it just me projecting my thoughts onto thAnd while there are some surface - level congruities to Grant's selection and her paintings (color, form, texture), I wonder how accurate that really is, or rather is it just me projecting my thoughts onto thand her paintings (color, form, texture), I wonder how accurate that really is, or rather is it just me projecting my thoughts onto them?

Using canonical and amateur parochial artworks as source material, Jason Brooks crops and reproduces existing paintings in order to develop a nonlinear art - historical tradition rooted in form and color, rather than chronology.

Neil Welliver's Brook on Ledge is a representational landscape that plays with reflections in pools of water to complicate the image, while George McNeil's Landscape Abstraction # 2 is a kaleidoscope of colors and forms, suggesting rather than representing the landscape.

Cézanne and Still similarly dismantle Albertian perspective by giving equal emphasis to figure and ground... Although Still points out that one of Cezanne's «most important contributions to the evolution of modern art» was his ability «to realize form in color rather than make color look like form,» he does not argue that one of these plastic elements is subordinate to the other.

Rather, he situates them on equal footing and demonstrates the extent to which color and form are inextricably intertwined in Cézanne's praxis.»

The answer may be found partly in the consideration that these artists are not concerned with representing a preconceived idea, but rather with being involved in an experience of paint and canvas, directly, without interference from the suggested forms and colors of existing objects.

Hafif, who has engaged for decades with monochrome painting, recalls painting a still life while studying with Richards Ruben: «I began using a single color and digging into it and making a kind of radiating form, treating it plastically rather than as flat.

Featuring artworks by Sarra Badel, Christopher Beckman, Sandra Chevrier, Douglas Cloninger, Nick Farhi, Amanda Fenlon, Matt Jones, Pryce Lee, Micaela McLucas, Lucas Price and Adam Shrewsbury, each artist has created a monochrome work relying on form and medium, to command and convey emotion and meaning, rather than a spectrum of lurid colors.

Rather than fulfilling the human need to label and name, these forms exist as independent entities of color and light.

Matheson often ignores the rules and opts for color rather than flesh hues to expand on form and shadow.

Christensen's washy colors and defined horizon, Vicente's light infused color dotted with mysterious forms, and Frankenthaler's watery, flooded field of color suggest a sense of place that is felt rather than seen.

The artist was known for black - outlined abstract forms on flat grounds of hot color, sort of like Lichtenstein if the puckish Pop genius had gone abstract and rather nasty.

The exhibition also shows a selection of Lüpertz's earlier figurative bronze sculptures from 2001 to 2015 scattered throughout the galleries, though they are not representative of the artist's finest work and, with their blocky forms and sloppy neon coloring, look rather comical next to all these works from antiquity and the Middle Ages — all the better for the drawings, the real centerpiece.

Cook drives the repetition inherent to factory labor to the picture plane, practicing over and over the construction of similar forms, colors, and compositions; not to exhaust them, but rather to extract something different from each iteration, marking incremental changes with each result.

Rather than fixed formats or object - defying endgames, Wragg brings together a dizzying cacophony of assertions: the charged color relations of the central passage, the angularity of the stickman - like form merging into a neo-Cubist grid, the cartoonish ladder and the graffiti - like arabesques whose casualness belies their subtle relation to the underlying tectonic ruptures.

Like her husband, the Abstract Expressionist painter Willem de Kooning, Elaine de Kooning was interested in abstracting the human form through gestural mark - making with black lines and the direct application of pure, unmixed paint colors juxtaposed, rather than blended, on the surface.

Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon.

They are hand - formed clay, cast in aluminium and painted in shocking day - glo colors; their placement on plinths clearly marking them as artworks more at home on the gallery stage rather than on a pine - cushioned forest floor.

Shapes begin to be formed from color alone, or rather from blotches, drips and gestural strokes of color.

Rather than rejecting recognizable visual references and objective reality, Minimalist artists like Judd, Sol LeWitt, Anne Truitt and Frank Stella focused on form, the use of vibrant and pure color, hard - edged line, minimal texture and modern materiality.

Though it is immediately apparent that the work on view is united by a commonly held belief in humor, saturated color and abstracted form, it is the variety of approaches and motives rather than any one shared aesthetic concern that gives the exhibition its strength.

Rather than abstracting reality, the Minimalists manifested the shapes, colors, forms and lines often explored in abstract art, inhabiting them in physical space in a representational way.

The artist came to believe that what was essential in art — given the diversity of themes or motifs — were two universal requirements: that every work of art has an individual order or coherence, a quality of unity and necessity in its structure regardless of the kind of forms used; and, second, that the forms and colors chosen have a decided expressive physiognomy, that they speak to us as a feeling - charged whole, through the intrinsic power of colors and lines, rather than through the imaging of facial expressions, gestures and bodily movements, although these are not necessarily excluded — for they are also forms.

These paintings do not belong to the category of abstract painting that moves far from society and strives for pure sensation but rather stand as circumstantial recordings of information, drawing together the complexity of social information and the purity of abstract painting and perhaps ultimately reducing different social, environmental, and individual actions into colors and shapes that represent different forms of information.

The bright colors, elegant forms, and simplicity of information lead us to learn rather somber and disturbing facts of animal extinction, which needs much attention and action.