Sentences with phrase «illusionistic space of the painting»

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.

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.

Not exact matches

Exploring how to force illusionistic space out of painting, Stella created the seminal Black Paintings, credited by some as reinventing Modernism and establishing the basis for Minimalism.

This 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.

Other paintings here by Chambers feature less of an illusionistic space.

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.

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.

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.

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).

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

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.

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 series of lithographs, like Pet Stains, 1990, hark back to Synthetic Cubism: puddles of black paint mark a stack of trompe l'oeil newspapers so as to create a tension between flat representation and illusionistic space.

Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer into the depths of illusionistic space.

His 1964 essay «Specific Objects» is considered a manifesto for Minimalist sculpture, advocating artists whose works inhabited the actual space of the viewer rather than the illusionistic space of traditional painting and sculpture.

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.

Painting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, materiaPainting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, materiapainting's actual, material space.

Geometric symmetry was helpful to him because, as he put it, it «forces illusionistic space out of the painting at constant intervals by using a regulated pattern.»

«By the 1970s, thanks largely to formalist critics like Clement Greenberg and Donald Judd, painting had been flattened and emptied of figures, subject matter and illusionistic space....

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 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.

Using the language of abstract painting and the modernist grid, the pieces reflect into an illusionistic space without fully relinquishing their sense of physicality.

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.

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.

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.

Working like the Roman god, Vulcan, forging calderas and caverns with deep, rock - like chasms of paint, Berg's illusionistic space offers no horizon, only an ever - changing, tumultuous world where time and space are uncertain.

This has sort of changed the perspective direction of a lot of post-analog painting, because whereas before, figurative painting functioned as a «window,» a recessive space with the illusion of depth, now there is a push towards illusionistic projection and forward movement.

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 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.

This ruse became the perfect rabbit hole into the illusionistic pictorial space of my tulle veil painting.

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?

Both the gestural and literal carvings cut up the painting and further adds to the tension between illusionistic space and the reality of the paintings» physical surface.