Sentences with phrase «illusionistic space in»

Frank Stella has been recognized for his artistic innovations since the age of 25, when he cast aside the concept of creating illusionistic space in his canvases in favor of privileging flat surfaces.

In Paris he became a confirmed abstractionist; in his work illusionistic space in figurative paintings yielded to uptilted planes and increasingly to a Cubist fracturing of the picture plane.

In my current paintings, I have reintroduced the idea of illusionistic space in a way that stays true to the abstract forms that I have been experimenting with for the past 5 years.

The juxtaposition of disparate images with graphic renderings in an ambiguous, illusionistic space in Burns to Breathe (Got ta Have a Better Attitude)(2014, 40 x 38.5 inches) recalls the «inscapes» of Surrealist painter Roberto Sebastián Matta, who combined unexpected imagery with unconventional painting techniques to create fantastic landscapes intended as landscapes of the mind.

A pioneer in painting, Murray's distinctively shaped canvases break with the art - historical tradition of illusionistic space in two - dimensions.

Through these works, the exhibition examines the social, political, and creative impulses that help drive the creation and subversion of illusionistic space in art.

Real space interacts with illusionistic space in Conversation, If and Yellow Light, all of which are built of two or more panels of varying reliefs.

Not exact matches

There is a well - worn narrative of twentieth century painting that goes like this: From Cezanne to Picasso to Pollock, the illusionistic space of painting flattened more and more until the picture plane and the surface created by the paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.

Thus, with no formal training in sculpture, but an interest in exploring the illusionistic potentials of three - dimensional space, Simpson began making constructed forms, both wall based and freestanding, from corrugated cardboard, some titled Corrugated Drawings (1978 — 1980).

The haunting spaces of the observatory in Jaipur and of the pavilions at Fatehpur Sikri led to renewed experiment with illusionistic representation of architectonic volumes.

Both renowned artists turned to the projected image in the seventies, highlighting the shifting awareness of spatial perception in the interaction between illusionistic filmed space and a physical location.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

In her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendentaIn her compositions Jebavy often includes glassware forms that call to mind other Baroque artworks, such as Bernini's expansive Baldachin in St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendentain St. Peter's Cathedral, or illusionistic Italian ceiling paintings and cathedrals, building altar - like architectural spaces that are at once intimate, domestic, and banal, and monumental, metaphysical, and transcendental.

Steinkamp's works interact between the actual space and illusionistic space resulting in environments where the lines between viewer and object blur.

Ms. McEneaney is seen infrequently, usually from the back or from a distance or when she's asleep, her pets arrayed around her in settings notable for their bold colors, dense details and distortions of illusionistic space that exert a magnetic pull.

Between Spaces will include film, installation, photography, and sculpture that address themes of nostalgia, a preoccupation with materiality, and the creation of illusionistic and psychological shifts in space.

Rauschenberg's abandonment of illusionistic depth effects — whether of conventional representational art or of the abstract expressionists» vast, immeasurable spaces — seems to come in part from an attachment to the physical realities of this world rather than to the less tangible possibilities of an inner vision.

On view in PC — G's Reilly Gallery, this group exhibition consists of illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as abstract paintings.

Her digitally animated works make use of the interplay between actual space and illusionistic space, creating environments in which the roles of the viewer and the object become blurred.

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.

These renderings are then executed in acrylic paint and overlaid with enlarged drawings painted with a vinyl paint that alternately reinforces the illusionistic space of the painting and calls to attention the physical reality of the paintings» two - dimensional linen support.

In Imprint (2006), within which two women seem to meld into one, malleable form, Yuskavage interprets the flat, illusionistic space of bas - relief sculpture through the use of close color and punctuations of extreme contrast at the points of human contact.

Though Stella, like Richard Serra, is not shy of scale, the overarching issue here is not the presence of focused materiality but the potential for material to form an open - ended Baroque extension, the consequence being that an illusionistic painting now exists in real space.

She teases the viewer with the promise of illusionistic painterly space and then she catapults her canvas into the void, forcing it to exist in real time, building little fortresses, and firing cannons in its general direction.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

Maine's use of carefully chosen pre-existing materials deployed in the «real» space found just in front of the supporting wall sculpturally counters the illusionistic tendencies of painting while clearly echoing painterly concerns with color and structural relationships.

In other pieces in the show, everyday objects such as books are transformed by applying to them the geometry of paper ornaments and minimalist sculpture (Minimal Bibliography), and photographed window fences with geometric designs are isolated from their functional environment by cutting the prints and flattening the illusionistic space of the photograph, thus relating those specific daily life situations with the idealistic language of modernist geometric abstraction (Popular GeometryIn other pieces in the show, everyday objects such as books are transformed by applying to them the geometry of paper ornaments and minimalist sculpture (Minimal Bibliography), and photographed window fences with geometric designs are isolated from their functional environment by cutting the prints and flattening the illusionistic space of the photograph, thus relating those specific daily life situations with the idealistic language of modernist geometric abstraction (Popular Geometryin the show, everyday objects such as books are transformed by applying to them the geometry of paper ornaments and minimalist sculpture (Minimal Bibliography), and photographed window fences with geometric designs are isolated from their functional environment by cutting the prints and flattening the illusionistic space of the photograph, thus relating those specific daily life situations with the idealistic language of modernist geometric abstraction (Popular Geometry).

Al Held, for example, used line etching to render an illusionistic world of space and form in «Straits of Malacca,» 1987.

He enclosed vast panoramas in abstract lines of color that created an oscillation between pure painting at the edges and moments of illusionistic space at the center of the work.

In New York, the smaller Parisian formats were quickly associated with fussy illusionistic spaces, and in an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of painting that followeIn New York, the smaller Parisian formats were quickly associated with fussy illusionistic spaces, and in an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of painting that followein an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of painting that followein art and the eventual critical endgame of the death of painting that followed.

As New York painters were progressively rejecting illusionistic space and moving toward a more literal space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of painting in favor of sculptural space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow painting to evolve without losing the basic elements of its identity.

Space is implied in his work, rather than being illusionistic.

Her works interact between the actual space and illusionistic space resulting in environments where the lines between viewer and object blur.

In «Chromatic Geometries,» her seventh solo exhibition at Arden Gallery, Mattera has decisively moved away from the layered, atmospheric approach of earlier «Silk Road» and «Vicolo» series to explore, with her customary virtuosity, the possibilities of figure - ground relationships and the illusionistic space conjured by dividing the square into two horizontal rectangles.

In his recent body of work New York native, Ben Grant, continues to push the boundaries of his process as he returns to the idea of illusionistic space.

As in the best Hodgkin paintings, a tension arises from the precarious balance of illusionistic space and the purely abstract, tactile richness of the surface.

Tracing the archaeology of the paintings in the sculptural formations that accrue on their edges creates a dynamic contrast between the illusionistic interior spaces opened up within the compositions and the frank materiality of the gesso boards as objects hanging on the wall.

All the devices in Stella's new paintings are geared to make picture space feel as if it bites into real space, without using illusionistic depth.

Throughout his long career, Stella has used color, surface texture, and space to create dichotomies in his work, adeptly playing with real space as opposed to illusionistic space.

All the works featured in the show are the product of Stella's diverse approach to the conventions of illusionistic and literal space, not just from a pictorial viewpoint but also from the architectural and sculptural.

Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually abstract and the illusionistic depiction of real space created by the action of light on film.

Minimalist art eliminated figurative images and illusionistic pictorial space and replaced them with a single image, often composed of smaller segments organized in a grid pattern.

«Three primary colours, as the source of endless sequences of tones... The shades and forms emerge through the constant blending of brushstrokes; they create an illusionistic space, without any need for me to invent forms or signs» — Gerhard Richter «Richter succeeded in taking the inpaintings to a threshold where they exist — period.

I incorporate not only a semblance of an illusionistic space, but also the resemblance of the viewer who is reflected in the surface.

In paintings such as Architectural Variation of 1949, Bolotowsky exorcised all suggestions of illusionistic space.

Painting also proposes a fictive, illusionistic space that I employ to bump up against more literal experience of things in the world.

His abstract and figurative work alike is devoted to the delicate balance between surface modulation and illusionistic depth, between the establishment of structure and its dissolution in light and space.

These works often demonstrated her keen interest in how paintings function in a given room and used illusionistic techniques to extend the plane of a wall or floor directly into the space of her pictures.

How do you keep the painted relationships in an abstract painting JUST spatial / pictorial — neither depictive, descriptive, suggestive of illusionistic, figurative, atmospheric space; nor literal, one layer on top of another (even though they are), or flatly adjacent?

In Alice Sielle «s 3D Blue and Gold Segments (1978), drawing, within a shallow illusionistic space is more prominent.