Sentences with phrase «green field paintings»

Not exact matches

Comment on this post and I'll enter your name in a draw to win my original watercolor painting, 4 ″ x6 ″, called «Green Field Fence».

The Los Angeles Dodgers» Dominican training complex in Campo Las Palmas is a remote, pastoral pleasure of lush green fields, swaying palm trees and fresh paint — that is, once you get past the entrance gate with the guard carrying the sawed - off, semiautomatic assault weapon.

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In well - lit areas, like the starting open field, the desaturated greens and hollow greys still paint a bleak backdrop for this ill - fated tale.

With blue fields layered with levitating blocks, or intersecting beams of contrasting blues and sometimes greens or purples, these immersive paintings evoked geometric versions of Monet's «Water Lilies.»

Each of the next thirteen paintings were fields of sky - green with one or more four inch borders of tan, sky - green, yellow and black or a combination of them.

The last painting, number fifteen, is a monochromatic sky - green field.

During the summer of 1966 Dan began his series of 100» square, bar paintings that were generally in two colors; fields of rich earthy colors and bars which were usually green, black, brown or gray.

The green field in Baseball is manicured down to abstraction, the crowd a sea of tiny dots, as though painted by an extremely diligent child; the glowing depiction of sports is arresting — even off - putting — in a New York gallery.

Mark di Suvero's painted steel sculptures are a burst of color in a green field, artists in residence create installations across the island and work in the studios near the ferry, and the Governors Island Art Fair crowds the island every summer.

Hugo McCloud green fields, no yields, 2017 aluminum foil, oil paint mounted on wood panel 79 x 72 inches (200.7 x 182.9 cm) HM - 158

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

In the painting «11.10.64» (1964), a series of stepped bars of varied violets starts on the lower left side and extends across the green, stained field, ascending ever so slightly, until it intersects the painting's right side.

There is something direct and whimsical, forthright and imaginative about this painting that anticipates works done by Thomas Nozkowski, as does the vertical painting «7.65» (1965), where a band of different solid colors move across the bottom and left side of the painting, partially framing the mottled green field.

In 1964, on return from his first visit to New York, Hoyland started work on a group of paintings that seemed to signify a maturation point; Mel Gooding has described them as «an astonishing series of huge acrylic canvases of high - key deep greens, reds, violets and oranges deployed in radiant fields, stark blocks and shimmering columns of ultra-vibrant colour.

In one work, two shades of green curls, painted atop bright orange, suggest a verdant patchwork of irregular fields.

In Canyon, the energetic, brilliant field of a cluster of reds is contained on three sides by the deeper, cooler greens, but the top of the painting is left to breathe.

His mid 20th century paintings demonstrated a sensuous feel for paint and for colour, that was unrivalled at the time, and ranged in colour from monochromatic but luminous browns, greens and blacks, to luscious fields of red and white.

By 1961, it is clear that Dodd could make a terrific painting, as demonstrated by the drily witty, «Cows and Clouds» (1961), in which the contours of the clouds and their interior forms are echoed by the black - and - white patterns on the two Holstein cows standing in a green field.

The show opens with one of most incredible rooms of postwar painting I have seen in a New York gallery in recent years: two huge, pitch - perfect Clyfford Stills, Kenneth Noland and Morris Louis color fields and a breathtaking 18 - foot - long painting by Barnett Newman called Uriel (1955), an expanse of mint green separated from a slice of chocolate by the thinnest of white and black zips.

The circular red ribs that make up the urn - like form of Cherubini's «Morning Star» reflect the looping vase handles and linear flowers in Nichols's still lifes; the figure / field spatial disparity in Bischof's «Omi im Bregenzer Wald» is also found in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's classic study of Philip Guston's late work, published in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum seem to drift above a receding gray and green field, which is bordered in peach - and - gray shards intersecting with black - and - white stripes.

1982 Geometric Art at Vassar, Vassar College Art Gallery, Poughkeepsie, USA Flowers and Gardens in American Paintings, DuBose Galleries, Houston, USA Paintings, Fuller Goldeen Gallery, San Francisco, USA New American Painting III, John C Stoller & Co, Minneapolis, USA New American Graphics 2 Shea Gordon, Pat Steir and Denise Green, Madison Art Center, Madison, USA Shea Gordon, Pat Steir and Denise Green, Mulvane Arts Center, Washburn University, Topeka, USA L'art Baroque, Musee d'art Contemporain, Paris, France Post Minimalisms, Aldrich Museum of Contemporary Art, Ridgefield, USA Representing Reality: Fragments from the Image Field — An Exhibition of Etchings and Woodblocks Prints by Gunter Brus, Francesco Clemente, Joel Fisher, Robert Kushner, Pat Steir, and William T Wiley, Crown Point Press Gallery, Oakland, USA (Traveling exhibition) Currents — A New Mannerism, Jacksonville Art Museum, FL; the University of South FL, Tampa, FL, USA

Particularly with the colour: the vibration that Hoyland sets up between an orange bar and its green field is dazzling: colours float, disembodied, off one another, but their apparent position in space is contradicted by a smoky dark edge of washed paint that pulls them back again, turning a veil of pigment into a solid object.

«Red Chatterbox» is a hard edge abstract painting by Color Field Artist Gene Davis executed in bright reds, oranges, greens, pinks and blues and depi...

Take for example, Drive - In, 2017, which calls to mind minimalist paintings with its stretch of dark green amidst a field of tan as much as it does memories of the summer.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Ballast is provided by two older artists: Jo Baer, who reconfigures her signature two - toned Minimalist borders as quasi-legible letters, and Dan Walsh, who is represented by a field of concentric green lines that effectively mines the terrain of Frank Stella's Black Paintings.

A vertical painting almost 6 feet tall in which sour yellows and greens predominate, it betokens Rothko's transition from an early style full of Surrealist curlicues cavorting on tinted grounds to his signature abstract manner of levitating soft - edged bars of color within fields of contrasting hue.

I put down a little patch of yellow paint in the middle of a green thing; it looked like a patch of sunlight on a green field.

These paintings loosely portray people radiating celestial light in abstract, atmospheric space suggesting a blue sky or green fields.

A great admirer of the late American artists Gene Davis, known for his»70s paintings of vertical strips of vibrant color, and Morris Louis, one of the earliest exponents of color - field painting, Trevino paints thin stripes in a wide spectrum of colors, with special emphasis on magenta, umber and sienna, and lime green and ultramarine blue.

«Green painting,» one of 13 recent drawings and paintings and two film installations at Matthew Marks Gallery, scuffs up an emerald field of enamel paint on taut linen.

Díaz points to a work called «The Color Field,» which consists of a very large canvas painted bright yellow behind a white shelf of green, orange and blue crepe paper flowers, the kind you might find in any Mexican market.

Its strips of colours in shades of blue, pink, red, mossy green and cream remind me of Colour Field Painting, a style of abstract painting that emerged in New York City during the 40s Painting, a style of abstract painting that emerged in New York City during the 40s painting that emerged in New York City during the 40s and 50s.

She also brought back glory to color and pioneered color - field - painting with Mountains and Sea's pastoral colors — pinks and light greens and blues.

From his first green and black CRT drawings on an Apple II to his present - day interaction with a variety of computerized machines, the computer's influence on his work is only matched by the color field paintings of Albers, Itten, Kelly, and Rothko.

Dodd paints what she sees: a green scrap of grass leading to a cottage, a yellow field bathed in sunshine, a red flower in bloom.

Glaring swatches of green and orange jolted them from the fields of dirty pink and grayed - out blue that dominated the other paintings.

Attentive to the details of his surroundings, such as the curve of a green field on the horizon or the shifting shadows as they're cast throughout the day, Kelly builds up his monochromatic paintings with thick layers of oil paint, creating a surface that is impenetrably opaque.

This piece is hand - painted in shades of pale green, white and soft brown on a yellow field.

This chest of drawers was painted first with a coat of Primer Red and then in Lem Lem, a soft warm green inspired by the colour of allium fields in Ethiopia.