Sentences with phrase «format square paintings»

Opening this book is a series of exquisitely produced color plates of brightly colored, large - format square paintings.

Not exact matches

The square format adopted by Reinhardt in the black paintings poses compositional problems.

In the blue paintings done before 1952, when he settled on a square format and a rigorously sectioned composition, every work was different.

Across two rooms offering 400 square metres of exhibition space, 20 paintings by Krauskopf, including large format works, are on view at G2 Kunsthalle.

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

For the exhibition, Kusama has created a series of brightly colored, square - format paintings, the majority of which measure over six feet.

All the works in the Pond series are square format — at the heart of the exhibit are seven paintings, each 60 x 60 inches, composed of shifting color fields with ruled lines hovering over the surface.

Ryman reduces his paintings to the bare minimum: the square format and white color (he uses an extremely reduced vocabulary) but his work is varied because he changes the scale and the texture.

A format in which Turner had never worked before his sixties, these square paintings are displayed together within this exhibition for the first time, thanks to important loans from the Kimbell Art Museum, USA and the Ulster Museum, Belfast.

It will be a grouping of 16 - inch square paintings displayed in a grid format.

Some of the painted imagery, which is often repeated and presented in a square snap - shot format, reads like transient thoughts or obsessions, a snippet of the synapse between art and life.

The new definitive shape assumes the form of equilateral crosses, within the confines of more traditional square and rectangular formats witnessed in a painting like Wanderer (1987).

The «look at me» culture's addiction to oversharing is intimated in the format of the paintings; their square shapes mimic Instagram posts and profile pics.

For her current exhibition, her first at the gallery, she has created two new «infinity rooms» and an impressive collection of large, square - format paintings.

Q: Many of your paintings are in a tiny six inch square format: how and why do you like to work so small?

Close begins his paintings with a photograph, grids the image and methodically transfers the information, square by square, to a larger format.

The dealer's commitment to him was such that, when her gallery moved to a new Los Angeles location in 1963, she designed the space to accommodate his nine - foot verticals (she did not yet realized that his new works were limited to the five - foot - square format), and installed a narrow platform of white marble along the baseboard to keep visitors at a distance from the extremely fragile paintings, whose inscrutability seemed especially capable of provoking the public.

In 1962 Diller introduced a new format in his «first theme» paintings consisting of white, black, yellow and blue squares arranged on a grey field.

Either square or rectangular in format, the paintings were constructed by laying down (mostly) opaque layers of paint and then scraping away one layer from another by use of a squeegee, as in Little Three for Two: Red, Yellow, Blue (1976), or exposing under layers by peeling away tape.

Ryman's paintings are reduced to strict formalism: square formats and varying shades of black and white.

There are twelve large paintings, all of which have a clockface silkscreened onto them — a numbered circle centered in a square format.

Her paintings of the 1960s, which feature square formats, grids, penciled lines drawn on canvas, as well as compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

Kusama's critically acclaimed inaugural 2013 exhibition at David Zwirner in New York marked the debut of large - scale square - format acrylic on canvas paintings.

Recent Paintings is comprised of a selection of paintings in which Dachman has changed the format of her canvas: from a long rectangle to a neaPaintings is comprised of a selection of paintings in which Dachman has changed the format of her canvas: from a long rectangle to a neapaintings in which Dachman has changed the format of her canvas: from a long rectangle to a near square.

Brand - new paintings by Stanley Whitney employ the artist's signature format of roughly gridded squares separated by canvas - wide bands.

Within the square format of «Maintenant» (1981), which is French for «now,» or the eternal and changing present, a steeple - like structure rises up from the painting's bottom edge, slowly distinguishing itself from the gray wall of paint.

Each painting consists of either three or four squares of solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 406 × 406 mm to 1.22 × 1.22 m. [13]

By 1957, when he was in his later 20s, Robert Ryman had established a distinctive signature mode for his paintings: he limited his format primarily to the square and his palette almost exclusively to white (though the natural color of the supports and, after 1976, of the supports» fasteners provided counterpoint to the white, and though the whites themselves varied).

But in the case of these paintings [Noah's portraits] especially the ones that are square format there is an esoteric colorfield approach taken by Warhol, there is an esoteric color field approach taken by Francis Bacon, there's an esoteric abstract approach taken out of [Jean - Michel] Basquiat.

For Tadasky, the framing square format of his paintings is as essential as the concentric circles within it, allowing each painting to act as a means of entry into a transformative space.

While I am very familiar with painting on the conventional rectangle or square I also greatly enjoy the challenges of painting on different formats whether they are large scale, on long vertical and horizontal panels, or on circular, fan - shaped and multi-panel compositions.

While his voluminous sculptural paintings began to dominate his output, the artist nonetheless continued to develop the Concentric Squares series finding comfort in the essential minimalist qualities of this format.

These are Rhyme (1956; Fractional and promised gift of Agnes Gund in honor of Richard E. Oldenberg to the Museum of Modern Art), which in an early state was paired with the famed taxidermy goat of Monogram (1955 — 59; Moderna Museet, Stockholm), and Painting with Red Letter S (1957; Albright - Knox Art Gallery, Buffalo), whose square format, isolated painterly daubs, and matter - of - fact title mirror those of Gloria.

Her paintings of the 1960s, which are distinguished by square formats, grids, penciled lines drawn on canvas, and compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

This massive body of work consisted of hundreds of paintings and prints all within a square format.

Storr writes in his catalogue essay, «Mangold's most recent paintings share the hollow - core or donut format of [the Ring Paintings], even though the hole in the center is sometimes round and sometimepaintings share the hollow - core or donut format of [the Ring Paintings], even though the hole in the center is sometimes round and sometimePaintings], even though the hole in the center is sometimes round and sometimes square.

Rhythmic and lyrical, with a combination of pre-ordained structure and improvisation inspired in part by his love of jazz, the square - format paintings arrange rectangles of vivid, single colors in a deliberately irregular grid, with the close - fitting, many - hued «bricks» or «tiles» stacked vertically and arrayed in horizontal bands.

In the early 1960s, Bishop developed the vocabulary of color and form that would characterize his paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle architectonic abstractions, and a consistently large, square format that reinforces the viewer's sense of scale and space.

This series of untitled paintings also introduced a new format into Martin's work: five — foot square canvases, a reduction from her signature six — foot square stretchers, which the artist could no longer handle easily.

Only two paintings in the show are horizontal, and they are the exceptions that prove the rule — the large - scale Number 88, 1950 (Blue)(1950) has beautifully vibrating color, but feels less individual to Reinhardt, maybe because it evokes landscape in a way that the square and vertical formats avoid.

Zucker: Yes, and it depends on how the paper comes off of the surface in each square module so that every painting is formatted differently.