Sentences with phrase «influenced by colour»

Strongly influenced by the colour schemes used by Titian and others in Venetian altarpieces, when art criticism emerged from the 17th century Rubens was considered to be the master of colour, while Nicolas Poussin was seen as the master of design.

During the late 1950s, deeply influenced by the colour stain works of Helen Frankenthaler, a new group of artists - notably Kenneth Noland, Morris Louis, and Jules Olitski - began to adopt an even more formalist approach.

Both Voulko's and Brown's work can be said to contrast with Voulko's own early paintings, more influenced by colour field and Clyfford Still, as is the latter work of Corbett, Dugmore and that of Jon Schueler during his San Francisco period.

As the authors describe it, their study was an evaluation of «whether a collar - worn pounce protector, the CatBib, reduces the number of vertebrates caught by pet cats and whether its effectiveness was influenced by colour or adding a bell.»

Not exact matches

A recent global consumer survey, conducted by market research institute TNS on behalf of GNT, shows that when it comes to choosing fruity gums, sugar drops and the like, the colour of a product has great influence on the purchase decision.

Revered for mastery of Spanish oak sherry cask maturation, The GlenDronach is synonymous with depth of cask colour and richness of taste, whether influenced by the sweet dark fruits of Pedro Ximenez or the dry nuttiness of Oloroso sherry.

All individuals are sensitive to the colour of food, even appetites are influenced and stimulated by colour; colour may sometimes discourage eating certain foods and diminish the desire for particular foods.

Because cultures do not come into existence ex nihilo, all cultures are influenced and coloured by those that have preceded them and by other contemporary cultures with which they come into contact.

Scientists already knew that variation in shape, size and colour of individual flowers can influence how their pollen is spread by visiting insects or birds.

In the following season, the researchers noted the birds» mating patterns, and how these were influenced by changes that might have occurred in particular birds» feather colours.

Previous research has shown that the food consumed by a bird, as well as its general well - being, can influence the colour of its feathers.

«Our next step is to take the gene which codes for tyrosinase, and put this into liposomes to see if we can influence hair colour by gene therapy,» says Hoffman.

Many black women suffer from low self - confidence, have gaps in their knowledge from attending schools where science wasn't taught well or are influenced by stereotypes such as «only men do hard sciences» or «people of colour are not as smart».

Just like how a light can be controlled by multiple switches to influence its intensity and colour, the team identified hundreds of genes controlled by multiple promoters, causing alternate versions of that gene to be produced.

Designed by fashion designers Nova Chiu and Jeff Archer, they look to explore textiles, print and colour in their collections and are influence by the ethnic cultures from China, Canada and Europe while fusing this with classic silhouettes from New York and London.

During my blogging journey, I realised how much dressing for your body shape and colouring can impact your confidence and that by changing how you look on the outside you also change how you feel on the inside, which then influences how you interact with others and that your clothes are not simply things to throw on in the morning but an expression of who you are and how you feel.

Spanning a timeless colour palette of midnight blues and black, the nine - piece collaboration is said to be influenced by the ready - to - wear pieces and accessories of the Russian princess Anastasia Romanova.

My choice of dress was influenced by the little bit of extra weight I'm currently carrying, normally I'm a pattern fiend but the cut and colour of the black dress really spoke me.

I think we're all aware by now that monitor settings and so on can influence the colour you're seeing, but I think this shade is particularly susceptible to how our monitor, browser, etc chooses to render the colour.

The beauty of this character study lies in intimate particularities: those of its internally riven, love - starved protagonist, Chiron, certainly, but also those of Jenkins's own tender, sensual gaze, coloured by such plainly cherished influences as Wong Kar - wai and Claire Denis.

By using colour filters and forced lighting, the Mario Bava - influenced Argento pushed the artificiality of the old fashioned Technicolor stock to extremes, creating a cinema of pure visual and aural sensation.

Different lighting levels and colours have varying effects on an individual's health, wellbeing, and mood: a paper published by Lighting for People found that introducing brighter, bluer, lights in the morning result in a positive influence on students» mood.

The rendering integrates a new face influenced by the Audi A8, featuring a large hexagonal grille flanked by LED headlights, creases across the body - work and Q2 - inspired dual tone colour combinations.

A refined interior design influenced by a breaking wave promises more colour choices, and will provide owners with «a more sedan - like experience», Hyundai says.

Brainchild of designer - founder Melanie Hall whose portfolio is greatly influenced by her father's modernist architecture, the rooms at Luna2 are named after their five different colour schemes, namely green, orange, purple, red and yellow — applied either to the décor, wallpaper, art pieces, furniture and linens.

The decor and textures are influenced by the warmth of the African culture with colours to make you feel relaxed and at ease.

The player also has some ability to influence their rolls, by being able to choose from either Legendary or Devoted hero (these determine their type) and by getting a preview of what colour they will earn.

My Time At Portia is gorgeous game, full of colour and wacky characters, and clearly influenced by Harvest Moon, Stardew Valley, and the Animal Crossing series.

Influenced by Henri Matisse, Georges Braque and Pierre Bonnard, Heron experimented with composition, scale and particularly colour in ways that saw him recognised as one of the most important painters of the 20th century for his shift away from figuration — his refusal of narrative.

Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus... Read more

Admiring the directness of Picasso's artistic approach and strongly influenced by both Abstract Expressionism and Francisco Goya's overwhelming black paintings, he set out to explore the language of composition and colour.

(Ringo excepted, obviously) I wasn't crazy about the cover either, influenced by Peter Blake's obsession with Victoriana, though the insert poster of the Fab Four in day - glo military uniforms was at least strong on colour.

I do find that I am influenced by them, as getting back to the studio I realise that I have filtered out the high colour in the painting I am currently working on.

Influenced equally by music, storytelling, and individual history, McArthur Binion has described his approach to painting from the position of a «rural Modernist» and one through which he «abridges the lyricism of colour with a Black rural sensibility.»

Influenced by a variety of «Masters of Art», from Matisse to David Hockney, (yet also by contemporary photography, television, paintings, and advertisements) Yanai portrays an intimate and personal environment in his paintings that include ordinary everyday items and simplified forms in vibrant colours.

Influenced early on by German Expressionism and later by the Abstract Expressionist movement, he broke free of these in the 1960s to develop a style more concerned with colour and texture over representation.

Influenced by Van Gogh, Matisse abandoned his earth - coloured palette for bright colours.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872 — 1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Ecolour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» EColour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» EColour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

He had taken back from Europe «a sort of a different colour sense», influenced by his study of Kandinsky and Matisse, and also of Fernand Léger.

August 1 — September 27, 2008 First solo show by Slade 07 graduate, with minimal three - dimensional paintings which are influenced by aspects of furniture design and which explore colour and materials.

Influenced by New York abstract expressionism and abstract colour - field painting, Robert Scott has developed a style of drawing with his fingers through the top layer of paint to expose the underpainted colours.

His work has a highly refined aesthetic that is often informed by his magpie like approach to influences from film, music, literature and philosophy, which shape and colour his practice.

Influenced by Antony Caro's brightly coloured, abstract steel structures, designers began incorporating a host of new materials, including fibreglass, paint and acrylic sheets, into their playful compositions.

Deeply influenced by the discoveries of Seurat and the Impressionists, Bridget Riley's approach to colour was radically affected by a visit to Egypt in the winter of 1979 - 80.

At the other extreme, she pays tribute to the influence of Goethe's colour theories in nests of coloured circles that predate Josef Albers» famous nests of squares by over 30 years.

His work has a highly refined aesthetic that is often informed by his magpie like approach to influences which shape and colour his practice.

Influenced equally by the pointillism of Seurat, the dynamism of the Futurists, and the abstractions of Pollock, her work from the»60s onwards consisted of flat planes of simple, repeated shapes (first in black and white, later with colour) assembled in often dizzying configurations.

Klee's influence on students is especially evident in textiles by Anni Albers and Gunta Stölzl; Stölzl's magnificent two - metre high jacquard wall hanging, Fünf Chöre (Five Choirs), 1928, shows technical precision, a love of colour and musicality.

Somewhat later Kidner was particularly influenced by Mark Rothko's Colour field paintings.