Sentences with phrase «form and color study»

Not exact matches

He has contributed to the study of the brain processing of form, symmetry, flicker, motion, color, and stereoscopic depth perception and has developed tests for the diagnosis of retinal and optic nerve diseases.

In a new study, Scripps Institution of Oceanography at the University of California San Diego Professor James Day and colleagues examined the chemical composition of zinc and other volatile elements contained in the green - colored glass, called trinitite, which were radioactive materials formed under the extreme temperatures that resulted from the 1945 plutonium bomb explosion.

The methods introduced in this paper, Levitin says, «can be used to study all sorts of things: how athletes organize their thoughts about body movements; how writers organize their thoughts about characters; how painters think about color, form and space.»

Central Colorado's Tava sandstone (light - colored band of rock at center, with geology student for scale) probably formed between 680 million and 800 million years ago, a new study suggests.

Integrated studies enable subjects to be investigated using many forms of knowledge and expression, as literacy skills are expanded beyond the traditional focus on words and numbers to include graphics, color, music, and motion.

I spend several moments studying each painting — taking in the colors, the compositions, the narratives, the forms — and this visual absorption just buoys up my spirits.

2011 Case Studies from the Bureau of Contemporary Arts, New Mexico Museum of Art, Santa Fe, NM Color Forms, Hirshhorn Museum, Washington DCSilence and Time, Dallas Museum of Art, Dallas, TX All is Good, Sideshow Gallery, Brooklyn, NY

After studying under Rolf Dürig, Ballestra began her flower series, defined by their distinct bright colors, satiny, silky, vibrating materials and form.

Striking for their hot, vivid, deep colors, pierced and jagged forms, and pulsating energy, these wax - resist paintings on paper, done at the height of abstract expressionism's ascendancy, captivated Jackson Pollock and Lee Krasner and inspired Jean Dubuffet to write his only monographic study on Ossorio.

With shards of color that jostle alongside sinewy curves and biomorphic forms in a whirlwind of shattered rhythms, they look like something James Rosenquist might paint if he gave up popular - culture sources and went to study with Hans Hofmann.

Lygia Clark, Hélio Oiticica, and Lygia Pape's innovative studies of line, form, and color were fundamental to the formation of the groundbreaking Neo-Concrete movement (1959 - 61).

This transition towards abstract forms and shapes is best illustrated in Kandinsky's Study for Composition # 8, 1909, a turning point in the artist's vision, where recognizable forms — people, church towers, cupolas and hills co-exist with abstract shapes and pure fields of color.

Cool and elegant, these studies in relationships among form, color and space have become Judd's signature pieces.

In these studies Abrahamsson investigates space, form, color, and composition - the motifs that tie her multi-disciplinary art practice together.

Robert Swain: The Form of Color transcends the precise system and decades of study informing it, providing a uniquely serene and spiritual experience for each individual viewer.

Mr. Jenney is a painter of remarkable technical skills whose feeling for color, texture and form can stand up to the best of the American landscapists that he has studied over the years.

The exhibition titled «A Second» continues his studies with color, shape, and form to engage our ability to perceive our surroundings.

Similarly, Howard explores human subjects and cityscapes as forms for geometric color studies — and this instability speaks well on the «discrepancy between physical fact and psychic effect» that Albers so passionately believed.

Continuing to develop drawn forms, the 1990s introduced outlined geometric forms more autonomously depicted on solidly - colored, shaped canvases: Attic Series III, Study (1990) places an ellipse inside of a parallelogram; Plane Figure Series A (1993) sets two ellipses within a two - color parallelogram; and Curved Plane / Figure VIII (Study)(1995) places two ellipses within a three - color half - circle, cut off a canvas truncated on its right edge.

Also included are two delightful studies that shed light onto the painter's methodical approach to color and form.

Over the years she has been able to express those visceral feelings into a study and celebration of color, the element which for her defines the emerging form.

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.

When it opens next month, the Skidmore show will begin with a salon - style hanging of some 30 small studies and sketchbook pages working out color and form, about half of which have never been exhibited.

Richard Anuszkiewicz studied under Albers at Yale University and Albers» principles of color and form had a long - lasting effect, informing Anuszkiewicz's work with geometric abstraction.

Draining direct references, symbols, and figures allow him to study the color and form of his identity while withholding easily exploitable imagery.

Richard Anuszkiewicz studied under Albers at Yale University and Alber's principles of color and form had a long - lasting effect, informing Anuszkiewicz's work with geometric abstraction.

Between 1990 and 1992, he studied with Gerhard Merz, at the Kunstakademie in Düsseldorf, contacting extensively with a series of theoretical, literary and artistic references — German Romanticism, the Middle Ages, Late Gothic — that will play an important role in the structuring of Chafes» activity and interests: the role of light, color, weight, the balance of forms, their relationship with nature, the surrounding space and Men.

Just as Whitney breaks down the grid central to his paintings, his drawings break the rules of abstract thinking and move beyond color studies and formal exercises to an integrated exploration of image and text, form and content, color and line.

The small photograph Night Jam, 2013, is a study in color contrast, depicting gently creased strips of variously hued photographic paper arranged on top of a paper guillotine, bringing to mind series such as «Lighter,» 2005 — , for which Tillmans turns flat pictures into three - dimensional objects by bending, folding, or creasing photographic prints and exhibiting them in Plexiglas boxes; or the famous «paper drops,» 2001 — , for which he takes pictures of photographic paper gently furled into drop - like forms.

Selected Group Exhibitions: 2010 Starburst: Color Photography in America, 1970 - 1980 - Cincinnati Museum of Art Packer Collegiate Institute Princeton University Art Museum 2007 Tokyo Metropolitan Museum of Photography 2005 Art & Recovery Conference / Exhibition, Lower Manhattan Cultural Council at Borough of Manhattan Community College, New York Edward Thorp Gallery, New York Gulbenkian Cultural Center, Paris, and Gallery Chiado 8, Lisbon 2003 Defying Gravity, North Carolina Museum of Art Gallery Amelia, Tokyo Eugénio de Almeida Foundation, Evora, Portugal 2002 Tokyo Metropolitan Museum of Photography 2001 Metropolitan Museum of Art, New York (Photography Study Center) 2000 Picturing Media, Metropolitan Museum of Art, New York A Prova de Agua, Belem Cultural Center, Lisbon 1999 Cooley Art Gallery, Reed College, Portland, Oregon 1998 Stanford University Art Museum 1989 New Directors, New Films, Museum of Modern Art, New York 1986 - 1988 Laurence Miller Gallery, New York 1985 Krannert Art Museum, Univ. of Illinois 1984 Color in the Street, California Museum of Photography, Riverside Light Gallery, New York Recent Acquisitions, Museum of Modern Art, New York New York, Paris, Tokyo, Tsukuba Museum of Photography, Japan 1982 Color as Form, Corcoran Gallery of Art, Washington Arteder, Museum of Graphic Arts, Bilbao, Spain Lichtbildnisse, Rheinisches Landesmuseum, Bonn Recent Acquisitions, San Francisco Museum of Modern Art University of Rochester, NY 1981 Castelli Uptown Gallery, New York Robert Frank Forward, Fraenkel Gallery, San Francisco Institute of Contemporary Arts, London Int «l. Museum of Photography, Geo.

Inspired by his studies with Hans Hofmann, Pace's work from the 1950s is characterized by dynamic brush strokes, shifting planes of color, and pulsating jagged forms.

Often considered the «grandfather» of Op Art, French - Hungarian artist Victor Vasarely began creating mind - bending paintings as early as the 1930s, leveraging his studies of science, color, and optics to produce images that seemed to move, swell, or change forms.

these abstract sculptures distort the images» natural lines into new planar configurations, creating playful studies of perspective, form, dimensionality, color, and texture.

Similar to both Whistler and Monet, Finch's artistic intervention distills moments of nature and memory into sensory encounters grounded in optical study, yet the artist's penchant for light and color manifests in art forms that continually test the boundaries of artistic representation, such as his widely recognized light installations.

... Apart from their mild, unassertive message, what the paintings convey is that Mr. Jenney is a painter of remarkable technical skills whose feeling for color, texture and form can stand up to the best of the American landscapists that he has studied over the years.»

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

«For the past two years I have been studying color, shape, and form to better understand both the dimensional and rational means in which our eyes turn stimuli into a descriptive image of our immediate surroundings.

Motivated by the graceful forms of landscape architect Roberto Burle Marx's and the color exuberance of Beatrice Milhazes, de Almeida's works are effervescent yet rigorous studies of rhythm, tempo and color.

The color studies display Reed's experiments with color, light, and form.

Direct and improvisational, the artist's sculptures recall Anthony Caro's bolted and welded forms, John Chamberlain's crushed sculptures, Mark di Suvero's Abstract Expressionist configurations, and Louise Nevelson's accumulated assemblages, just as Bove's interest in color and its perceptual effects can be linked to Josef Albers's study of this subject in his foundational book Interaction of Color (1color and its perceptual effects can be linked to Josef Albers's study of this subject in his foundational book Interaction of Color (1Color (1963).

Two new paintings by Terry Winters display an unaccustomed feel for color and a sense of psychological entrapment in hand - spun form that suggest that he has been studying the later work of Philip Guston.

The Irish - born painter has been religiously studying color, form, and texture for decades.

Even her preparatory studies, with their decisiveness and forceful density of overlapping lines, structural forms, and occasional colors, confer full autonomy to these smaller works on paper, rich in dynamic directional play and dramatic painterly gestures.

Defining himself as more an image builder than traditional photographer, Ohio native John Chakeres revels in expressing the beauty of the world around him through studies in order, texture, form, surface, color and light.

The study area for this paper includes the entire California Floristic Province and a surrounding area of equal size in the form of an approximately 200 km wide buffer (Fig. 1A, all colored areas).

A comprehensive reference spanning some three thousand years of design provides more than 3,500 full - color photographs and descriptions of furniture representing every style and form, along with an overview of decorative motifs from key periods, profiles of important designers and craftsmen, a study of important movements in furniture design, and more.