Sentences with phrase «give his paintings physical»

Most recently, he has created installations that give his paintings physical and spatial dimensions.

Not exact matches

Similarly, in the art of painting, science may give the most complete physical and chemical analysis of a certain canvas, but can do absolutely nothing to explain its value or its effect.

Among the many pleasures found in The Swan Thieves are Kostova's exquisite descriptions of paintings and the window she gives the reader into the world of painting, including all of its grueling physical labors along with the exhilaration that results when inspiration and execution create great works of art.

Physical play has been given a new lick of paint as well with new trapping and a 360 shield dribble.

In the last year of his life (Hartung died in December 1989), he produced 360 paintings — a monumental accomplishment, especially given his restricted physical condition.

In my paintings I struggle to give solid physical presence to this vision; the more vivid, the better.

Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella's rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

He's playing around with the material makeup of the paint to give it through its physical texture, what he had obtained in color in earlier paintings.

The thought of un-erasing a painted - over LeWitt is something of its own conceptual riddle, given that the artist placed the weight for his wall drawings in the ideas — in the form of written instructions — not their physical execution.

You were creating a lot of big paintings with unarguable power, paintings that give you a slap, a physical, gut reaction to some sort of spiritual, or if not spiritual, a huge emotive transcendental thing.

MoMA owns two paintings by Snyder, who started making densely physical abstractions late in the 1960s, but it has barely shown them; it was the Jewish Museum that gave Snyder her retrospective in 2005.

For André Hemer, it's giving digital imagery a physical presence with paint.

Noland achieved this varied application of paint and emphasis on certain colors by using a gel medium, which sits on the surface of the paintings and gives the color a tangible, physical quality.

His forte lay in giving equal emphasis to the physical facts and to the retinal power of painting in ways at once satirical and implicitly elegiac, always with a skeptical awareness of formalism and the modernist attachment to monochrome.

It was left to de Kooning to give an almost physical reassurance and an imaginative sense of a possible future to younger painters in Europe and American in the late Fifties, when many artists were seeking out ways of sustaining the validity of figurative painting at a time when abstract imagery of all kinds seemed to be so strongly in the ascendant.

His «Palm Springs» paintings, drawings and prints, which feature his mentor Burr Tillstrom lying on his side next to a swimming pool, have the enclosed feel of an interior and give physical weight to the air around his subjects.

Not only does this inform his painting practice, but also gives insight into the creative process in a physical from that can be touched, held, and examined — showing the potent transformational qualities of the medium, as well as the frailty.

Williams gives similar treatment to popular art tropes: his spray - painted crumpled posters are decidedly unheroic, his routered replicas of expressionist mark - making seem calculated, and his photographs of the skies outside the studios of artists like Jackson Pollock look more like cool Photoshop gradients than they do markers of anything physical.

What is still not sufficiently appreciated is that the twist Frankenthaler gave to Pollock's drip method removed the heavy breathing from abstract expressionism while retaining the closeness to the physical act of painting.

Intending to «give Abstract Expressionism structure,» Held used his alphabet paintingsas a bridge to his later black - and - white paintings of still larger size, which further stressed the visual and conceptual anomaly that occurs when graphic illusion meets no - nonsense physical surface.

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