Sentences with phrase «from planes of color»

Nadel writes: «Gross told me that she is guided by a «fanaticism for Titian,» which is to say, she builds compositions from planes of color.

Not exact matches

In contrast to this background of smooth planes in muted colors, giant screens occasionally lower from the ceilings to show scenes of catastrophe in high enough definition that they seem to Jeffrey «immediate and real, a woman sitting life - sized on a lopsided chair in a house collapsed in a mudslide.»

This natural - color view, captured by the Cassini spacecraft in 2007, shows the dark side of the rings from an angle slightly above the ring plane.

Away from the Galactic plane, vast majority of the dots are galaxies, color coded to indicate distance, with blue dots representing the nearest galaxies in the 2Mass survey, and red dots indicating the most distant survey galaxies that lie at a redshift near 0.1.

The second plane cuts from the surface to 24000 km deep showing areas of faster sound speed as reddish colors and slower sound speed as bluish colors.

In «The First of May,» a large canvas from 1960, he paints a landscape of soft colors dominated by a towering plane tree whose branches and leaves are rendered in a swirl of strokes evoking Mr. de Kooning's gestural style.

It's as if with line from the loom - Weaver knife and weaver brush Stitch color thick into Diamond and terrace, into Planes black as wool tied by Stripe and cross, all falling in The warp and weft of weave, Patchwork tricksters playing «till Depths fill with ring and bell Purple against the harvest moon.

She creates small patches of color from carefully hatched lines to show skin; each plane works to delineate the exposed volumes of her sitter's body.

If Mondrian's white (often cracked, perhaps because of a struggle to make it really white) is freed from regulation by the grid by making a line out of color, I think Reinhardt's black performs a similar liberation by substituting an abyss for a ground, unfathomable depth instead of a plane that gives security.

Maher creates dynamic sculptures from concrete, aluminum, and resin; in his vibrant paintings, Dunlap divides the picture plane into interlocking geometries of shape and color; in video and sculptural works, Tenser considers autonomy and dependence.

Sites, subjects, and methods of observation are critical to each artist's visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry - like world are some of the inspirations for the paintings shown here.

Mary Heilmann's paintings are vivid abstract planes that lend equally from the bold hues of her own imagination and the heavily saturated colors of popular culture.

Critics have long compared Mitchell's work to Claude Monet and Paul Cézanne's landscapes, particularly because they convey «landscape» from abstract planes of pure, glistening color.

She infused her art with these experiences through a labor intensive process — applying many layers of paint by hand to each piece and sanding the surfaces to a fine finish — and the bands of rich color that cover her sculptures, liberated from the traditional two - dimensional plane of painting, prompt viewers to make their own associations with her work.

In his current show, Whitney extends his gamut, going from thin, crackled surfaces, to washy, translucent layers exposing painted over shapes, to solid planes of color.

The final wall is devoted to pieces from Ippolito's «Regatta Series» (1984 - 89) in which the watery color planes suggest abstract but recognizable elements like pennants, sails and boats, and black wave forms blend into blue ground in «Land's End» (1986), with the full blast of wind on sails being felt in the horizontal diptych «Windward» (1987).

His use of flat planes of color arranged in rows that relate to one another horizontally, vertically and diagonally suggests the synesthetic blending of the senses — «hearing» color, «seeing» sound — and evokes the painterly experiments of the synchromists from a century ago.

Some paintings depart from two dimensions through illusion, adding angled planes to the edge of his gridded rectangles, while sculpture takes the stacked colors into the center of a room.

«Ebb Tide» has broad waves of aquatic color, foam - like splashes of white and orange, and receding atmospheric planes, while «Sancere» sends effervescent bubbles into blue fluidity from a gyrating core.

In the 1950s, when Abstract Expressionism was still in vogue, Katz broke irreverently away from the wanton brushstrokes of Pollock and de Kooning to begin painting in his signature style — bold, stylized close - ups of elegant figures assembled from intersecting planes of saturated color.

Using designs, icons, and colors from all of the world's national flags, without hierarchy or political prejudice, Kimsooja's installation To Breathe — Zone of Nowhere creates a visual canopy where national differences exist on an equal plane.

We encounter lovers lifted from an Indian temple sculpture; monkeys and lion dogs borrowed from Chinese art; a grape - eating goat surrounded by lovely leaves (some made of felt), suggestive of folk art; and seemingly abstract planes of color that turn out to depict gallery walls, urban skyscrapers or a sendup of a suave brown Hollywood interior.

Calcago isn't just dividing the picture plane - you'd have to posit some effect of Frank Stella here - but segmenting three distinct shapes of the painting, descending in color from lemon yellow, to tangerine, red, purple, umber, blue to black, black back to yellow.

Fugue paintings, observed from a distance, appear airy and atmospheric, a hazy veil of color suspended somewhere just before the picture plane.

Drawing on inspirations ranging from Buddhism and American modernist painting to psychedelia and Amy Winehouse, Brooklyn - based painter Chris Martin (born 1954) «lets the paintings make themselves,» with often generously scaled canvases characterized by flat yet textured planes of bright, saturated color, frequently incorporating found materials and highly personal paper ephemera.

In his abstract paintings from the 1960s, single - colored geometric shapes pulse rhythmically across their flat ground planes, or torque the surface of the canvas.

«The new air - planes, the blimps, the dredges, the ships of the base... tore me away from all of my grooved habits, from my play with colored cubes and classic attenuations,» Benton later wrote in his autobiography, describing this transformative moment.

Wilke described the arrangement of brightly coloured sculptures, which were originally installed on real earth and grass as «womblike blossoms resembling Venus mounds, a centrefold evolving from a circular plane, universally existing in both primary and secondary colors.

Working from positive and negative photographs of planes, often interior spaces or sky, Vermeersch employs gridding and color - mapping...

For example, in a painting on paper from c. 1946 - 1949 inscribed and gifted to Anni Albers, Asawa uses subtle modifications in color and form to create a sense of depth and motion within the otherwise flat picture plane.

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

«Vicente's divertimientos range from non-representational explorations of color, texture, plane, and volume to cleverly - concocted figures with clear allusions to human forms and animals.

In the past decade Braman has become known for painted sculptural structures which breathe new energy into humble artifacts from life at home and on the road ---- used furniture, car hoods, and wooden doors ---- with rich colors of spray paint or planes of cut Plexiglas.

At the same time, Adams's planes of color — from solid to dusty to layered — feel illuminated from with; they give off a soft glow (there is that word again, soft).

In 1938, Art News declared that «Louis Schanker's delightful Street Scene From My Window calls forth admiration for its delicacy of color and kaleidoscopic forms in plane geometry.»

In the late 1950s, Daphnis developed his color - plane theory to liberate color from the restriction of form.

These groundbreaking early works, often folded and crumpled while the paint was still wet, stand apart from the typical output of Gilliam's Color Field contemporaries, utilizing canvases with beveled edges that break the 2 - D plane.

This light - suffused gradation of color from more to less intense is what separates Boyd from Albers and many other geometric painters who keep color constant on the plane within the borders of form.

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.

For more than two decades, Jessica Stockholder has been fashioning a new language for sculpture and installation art, one that applies a painter's sense of form, pattern, texture and color to three dimensional spaces through the use of a staggering variety of media, from heavy duty construction material to mass - produced commercial products and even live horticulture.Her sculptural and architectural interventions spread themselves over the spaces they occupy; planes of vivid Technicolor hues abut precisely arranged and patterned objects and assemblages of unlikely materials combine and bloom amidst the colorful chaos.

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.

Gottlieb first used this vast, horizontal format in 1960 allowing his minimal, graphic language to stretch across the picture plane; he explains, «I eliminated almost everything from my painting except a few colors and perhaps two or three shapes, I feel a necessity for making the particular colors that I use, or the particular shapes, carry the burden of everything that I want to express, and all has to be concentrated within these few elements.»

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]

Working from positive and negative photographs of planes, often interior spaces or sky, Vermeersch employs gridding and color - mapping techniques associated with the likes of Gerhard Richter and Robert Bechtle.

«This light - suffused gradation of color from more to less intense is what separates Boyd from Albers and many other geometric painters who keep color constant on the plane within the borders of form,» he wrote.

Dynamic, thick brushwork that veer from forceful to ambiguous are carefully laid over abstract color planes allowing occasional glimpses of delicate grids of silkscreen.

The format is derived from Neo-Plasticism — arrangements of rectangular and semirectangular planes of unmodulated color divided by thin black lines — but the effect owes much to Sander's association with the New York School.

«From Abstract Expression to Colored Planes» considers the expressive and abstract style of painting that emerged in early 1940s New York and the more stark color planes that defined practices a couple of decades Planes» considers the expressive and abstract style of painting that emerged in early 1940s New York and the more stark color planes that defined practices a couple of decades planes that defined practices a couple of decades later.

Expanding on his signature abstract geometric style, works from this period demonstrate the expansion of his color - plane theory beyond the use of primary colors and simplified planes.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.