Sentences with phrase «illusionistic surface»

Indeed, as I slice my white perspective lines into the painstakingly crafted, illusionistic surface of the painting, I hear the question that is asked of me so often: «why do you have to ruin the landscape, it's so beautiful.»

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.

«In the 20th century, it was impossible to get away from the notion that the canvas or the painted surface was no longer beholden to illusionistic depth,» he tells me.

«When I work I move back and forth between the creation of illusionistic space and a fully non-representational relationship with the process, the surface of the picture, and even the formal considerations relating to its shape,» says Ms Adams.

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.

They are painted in a trompe l'oeil manner with the picture plane serving literally as a flat surface and these illusionistic images are cross referenced with their physically real counterparts strung throughout the gallery.

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.

With the help of 3D glasses provided by the gallery, one can also see the surface magically piercing into the print creating an illusionistic view of a crater.

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).

While from a distance (or reproduced in images) my paintings may seem illusionistic, the technique denies neither the physical texture of the paint nor the flat surface of the canvas.

If we adopt the screen then as the emblem of the contemporary optic, we presumably regard contemporary painting as somehow marking a return to a quasi-classical conception of its task as one of illusionistic affect... The intelligence lies in suggesting that materiality can persist as a key affective dimension of painting only if its terms are re-written... Recent paintings, like Michael Stubbs's work towards a diminished materiality, resulting in something more akin to the continuous surface associated with the varnished skin of an Old Master painting than to the opaque porosity of a Hofmann or Still.

The optically titillating large - scale paintings are made by applying layers of acrylic paint to a canvas in a pre-determined order, resulting in heavily - built surfaces that take on illusionistic depth as the tone scale varies.

Interested in the spatial dimension of paint, Grosse wields a spray gun rather than a paintbrush, creating abstract and illusionistic layers of color and texture on unconventional surfaces.

I do not wish to imply that their paintings appear similar, only that they participate in their alma mater's particular attention to the play of surface and illusionistic depth, and that their penumbrae lead back among the lotus eaters to Van Winkle's realm of nod.

Ferguson's paintings are comprised of built - up troweled layers of plaster with uneven surfaces, repeated patterns and illusionistic depth that suggest something representational yet actually derived from geometric variations created on her computer.

She has written of her interest in «reconciling figurative representation and the formal concerns of creating illusionistic images on a flat surface.»

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.

They neither function as windows on an illusionistic world, nor do they foster the absolute agreement of flat image and flat surface basic to, say, a Jasper Johns flag or target.

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.

Their uneven surfaces and repeated patterns hint at illusionistic depth and suggest something representational, but in fact their forms are based on geometric variations the artist creates on her computer.

What appear to be linear marks and ripples made by dragging the stick - end of a brush through wet vinyl paint, like an act of vandalism tearing through a pristine surface, is in fact a tour de force of illusionistic paint - handling.

The surfaces resonate with the potential cinematic glow whilst the illusionistic chromatic tension of the surface oscillates.

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

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.

Reducing this analysis to a specific painting problem, Lucas explores the issue of spacial illusions through the paradox of illusionistic reproduction on a flat surface.

As he has noted, his use of «push - pull dynamics and the occasional use of illusionistic perspective against raw expressionistic brushwork gives the impression of looking deep into the canvas only to be thrust back to the surface.»

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.

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.