Not exact matches
The
painting was
horizontal in
shape and four years I had been
painting vertical.
Or you can see it as a kind of «motif» or configuration that runs from right to left, horizontally across the centre of the
painting, starting at the right - hand slope, running across the strong green
horizontal bands, and ending in the mid-left hand -
shaped fanning - out.
By employing these
shapes Gorchov avoids the traditional obstacles of
painting, such as negotiating corners, edges, and exact verticals and
horizontals.
The mural, made of acrylic
paint and water - based crayon, is divided into three square areas of equal size, one red, one yellow and one blue, each enhanced with vertical and
horizontal white lines and geometric
shapes.
Annell Livingston's hard - edged
horizontal, vertical, and diagonal gridded
paintings are filled with a multitude of hand
painted gouache
shapes.
The open stairs, metal - grated
horizontal window and cut section of low - hanging roof were
shaped and finished — with
painted on black mould — to give the impression of an accelerated process of ageing, and the accelerated progress of time.
Three bodies of work emerged around this time: the Step
paintings, stacked rectangles and squares and irregular ladder - like structures; the
horizontal Mobius Band compositions anchored by tiny squares of solid color; and the small - scale Heart Beat
paintings, straight lines radiating from a half moon
shape and pulsating with energy.
Densely hung in the gallery's living room - size main space, the large
paintings, which are all seven feet tall and five and a half feet across, swarm you with their edgy, jagged energy... in «Raft,»... the vertical stripes run from top to bottom, with two
horizontal sets constrained within shield - like
shapes on the left and right, calling to mind Walker's fascination with Aboriginal and African art.
Throughout his oeuvre of
paintings, Saito deployed richly expressive colors, first in blocky bold
shapes in the 1970s and early 1980s, such as Golden Shadow (1981), and then in richly gestural works with clusters of messy,
horizontal scribbles.
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.»
By the end of the decade, the artist's ongoing exploration of figure - ground tensions is expressed in works such as «Große Flächenteilung / Spiegel» (Large field - division / mirror)(1989) and «Unterbrechung» (Interruption)(1989), in which simple
shapes are
painted over
horizontal swaths of intense and even acrid contrasting colour fields.
Other
paintings such as Rousseau Giving Love and Lions consist of monochromatic colors such as light green stripes that are
horizontal on the bottom and form a curved arch
shape at the top, against a black background.
Progressively integrating color into his pared - down environments, Walsh
paints smooth, clearly contoured fields of color on which various
shapes are composed: floating squares and rectangles hung from bisecting
horizontal lines or huddled together at the corner of the canvas, suggesting weight, volume or pulsing movement.
By the end of the decade, the artist's ongoing exploration of figure - ground tensions is expressed in such works as «Große Flächenteilung / Spiegel» (Large field - division / mirror)(1989) and «Unterbrechung» (Interruption)(1989), in which simple
shapes are
painted over
horizontal swaths of intense and even acrid contrasting color fields.
At the center of the show were three
horizontal paintings, each installed on a pillar, thereby creating a series of cross
shapes, which could be walked around.
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.
Known first for his circle
paintings, Noland became a defining Color Field painter by rhythmically exploring a wide range of acrylic hues in a visual language of chevrons, diamonds,
horizontal bands, and plaid patterns on variously
shaped canvases, one as wide as 7.3 meters.
Stanley Whitney created a
painting using his signature compositional approach of loosely gridding square - like
shapes marked off into irregular proportions by
horizontal ribbons.
Beach cottage mudroom features upper walls
painted blue gray and lower walls clad in
horizontal tongue and groove paneling adorned with row of hooks and heart
shaped driftwood suspended over built - in bench with two drawers below accented with oil - rubbed bronze pulls topped with ticking stripe cushions beside a built - in cubbies filled with rolled towels atop subway tiled floors.