Sentences with phrase «into painted reliefs»

Just as often, though, Stella's move into painted reliefs went bust, as in his bracingly hideous Khar - pidda 5.5 x (1978), featuring pretentious cutouts of French curves painted with rebarbative splotches.

Not exact matches

The paints can be mixed into delicate glazes, or laid on in thick globs, called impastos, that give an almost sculptural relief to paintings.

Later this rather sober and calm painting style changed into a much more dynamic sculpture art, mainly reliefs constructed in aluminum material.

At times, the grays recede into some flattened dimension, like they're painted onto the paper with no relief.

Over the next decade, Stella introduced relief into his art, describing his approach as «maximalist» painting, because of its sculptural qualities.

Where Fontana broke new ground by slashing his canvases with a knife, and Manzoni did so by soaking his in kaolin solution, Castellani created monochromatic reliefs by driving nails into the underlying frames of his canvases at varying depths, and then painting on top in a single colour.

During the following decade, Stella also introduced elements of relief into his art — these he came to call maximalist paintings for their unique sculptural qualities and visuals.

In the late 1970's, her work moved away from two dimensional paintings into small scale painted reliefs in both linen and folded paper.

In the Whitney show, these works, which can only just be considered paintings, shimmer in their emphatic materiality, cast into relief against Stella's early and later expressive production.

Assiff translates the luscious exoticism of Rousseau's original paintings into a thick, almost bas - relief plasticity and removes the figures and animals to create an aestheticized deforestation as visible in «Untitled (Exotic Landscape).»

In his paintings Moffett extends the traditional two - dimensional frame in a number of ways, including converting the ordinariness of the flat plane into highly textured reliefs, making paintings that are opened up and turned inside out, or presenting intricate illuminations through the use of video projections on the canvas.

Using paint and plaster, she repeated the motif of a white bird throughout the space, beginning with a flat illustrated wallpaper that morphs into a subtle, low - relief projection, at once grounding and disorienting the viewer.

In several works, furrows and traces literally fan out the picture plane, letting the paint materialize into discreet reliefs.

These have an increased focus on surface quality and low relief, and demonstrate fusion of sculpture, painting, and ceramics into one form to create a dynamic work.

Following the artist's massive 1996 Guggenheim retrospective, Ellsworth Kelly's oeuvre has been sliced and diced into ever - finer morsels, from his early drawings to his relief paintings and Spectrums.

With a self - imposed mandate to free painting from the confines of two dimensions and release it into a three - dimensional realm, Mr. Stella changed gears in the early 1970s to produce relief - like painted constructions made out of aluminum or wood.

Often combining two or more abstract forms into one piece to create a three - dimensional composite wall relief, the surface of the canvas is painted using industrial materials such as oil - based enamel and spray paint.

Works on exhibit include her wall sculptures — rugged, off - rectangular solids — that evolve into rusticated, gridded paintings in high relief.

This is all too apparent in «Frank Stella: Painting Into Architecture,» a small, insufficient exhibition at the Metropolitan Museum of Art that spans a 43 - year evolution with 25 paintings, reliefs, drawings, architectural models and sculptures enlarged from these models.

Working out of her antiques shop in Hudson, New York, she refashions decrepit wooden boxes into wall reliefs that measure less than 6 by 12 inches and enlivens them with roughly geometric, abstract paintings.

Inside these baroque forms are uniformly sized blocks, each square its own pure color, sometimes only subtly distinguished from neighboring colors... Gordon's shapes are carefully molded in heavy impasto paint with a palette knife, a bas - relief in color that pops off the canvas... [Diamond] uses nature - based drawings to create forms that at first glance resemble figures but after closer study escape into the realm of the imagination.

The artist retained the irregular forms of his «shaped canvases» of the late 1960s, but replaced the minimalism of his earlier paintings with three - dimensional reliefs that project forwards from the picture plane into the surrounding space.

In the early 1960s, he moved very quickly into making three - dimensional work, so while the first room in the exhibition is given over to paintings, the second shows his first wall reliefs and sculpture.

The groundbreaking exhibition, which has received wide public and critical acclaim, spans the legendary artist's 60 - year career from the late 1950s to the present and is composed of over 300 paintings, relief sculptures and drawings that offer insight into Stella's trajectory from minimalism to maximalism.

Her shooting paintings were widely acknowledged, and Niki de Saint Phalle developed them into large - scale reliefs and altarpieces against the hypocrisy of the church and the devastating omnipotence of the patriarchy.

The Crystal Land is divided into three sections: a series of wall reliefs (Crystal Landscape Paintings) inspired by the artist Robert Smithson; a film, including a «glass cinema» and movie posters (The Light Club of Vizcaya: A Women's Picture) inspired by the writer Paul Scheerbart; and a large - sacle installation (Island Universe) inspired by the physicist Andrei Linde.

Tate Modern, London, until 9 August 2015 Sonia Delaunay's first retrospective in Britain throws into relief the abstract artist's deft use of colour across a wide range of media, from painting to textiles design.

Each artist was invited to produce numerous designs, and to freely create and translate works into the media at hand: print on canvas, encompassing works across photography, mixed media montages, drawings, paintings, collages and relief sculptures.

The 1990s saw his relief works, freed from the flat plane, transform into sculptures in painted metal, and in 1999, Transfiguration (Metamorphosis) a retrospective of Honegger's painting and sculpture work was shown at Jean Nouvel - designed Fondation Cartier in Paris — itself a fusion of design and form in steel and glass.

The 1990s saw his relief works, freed from the flat plane, transform into sculptures in painted metal, and i

During the years 1933 - 7 he turned to a new form of non-objective art - abstract relief sculpture - which he refined into his signature style of geometrical «white reliefs» in painted wood, using only circles and straight lines.

Treating the work almost like relief sculpture, Scholder scratches into the wet gesso and sands and buffs the painted surface; when dry, the casein may be buffed to a velvety matte finish.

Attempting to eradicate depth with his successful series Black Paintings, 1958 - 60, Stella conversely began to incorporate relief into his paintings for their sculptural qualities — a process he dubbed «maximalisPaintings, 1958 - 60, Stella conversely began to incorporate relief into his paintings for their sculptural qualities — a process he dubbed «maximalispaintings for their sculptural qualities — a process he dubbed «maximalist».

Accompanied by archival materials from the still active Atelier Arcay, the exhibition includes twelve works that document his progression from easel painting, which he abandoned in 1956, to the wood reliefs that facilitated the expansion of his practice into architectural space.

Surface and subject are finally sculpted into relief using thick layers of paint.

The artist delves into the technical and formal properties of abstract painting by creating reliefs that prize texture, light and surface tension.

Against the historical background of mural paintings and wall designs dating back over millennia, artists in the early 20th century devised concepts for wall paintings, picture walls and wall reliefs, which went beyond the frame of an individual image in order to take an entire wall or interior space into view.

In creating these works, the artists used various techniques including altering the outline of the canvas, building up relief, cutting into the plane, and using materials alternate to traditional canvas as support... Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

For the past four decades, Sharon Brant has produced conceptually and aesthetically rigorous hard - edged paintings and drawings that commonly blur the lines between media — paintings are frequently drawn with graphite or pastel, extend outward from the wall into sculptural relief, or are mounted into complex, layered works on paper.

Notable inclusions are his seminal «Black Paintings,» recent high - relief aluminum works, and a selection of drawings, maquettes, and digital renderings — many of which are reproduced here for the first time — that offer fresh insight into Stella's thinking and process.

Richard Serra: Works on Paper: Gemini G.E.L. in Los Angeles hit upon an ingenious way of making Richard Serra's high - relief paint stick drawings into prints.

After this he applied himself intensively to Informal painting, developing, by the middle of the 50s, his first dynamic structures, which he transcribed into painting and drawing as well as plaster and metal reliefs.

To put this aspect of the artist's prints into perspective, the exhibition includes, alongside a broad survey of the editioned prints, color trial proofs; an oil, ground glass, and crayon painting; and a mixed media metal - relief painting from the artist's personal collection.

For his two - gallery exhibition at PaceWildenstein just last year, he presented a monumental sculpture of a pregnant girl covered in real cowhides; antique wooden doors carved into intricate reliefs; and a photorealistic, tennis - court - size painting made from ash.

During the 70s, he continued innovating - this time by rejecting his former emphasis on the flat, 2 - D nature of the picture plane, and incorporating collage, felt, wood and other materials into the new «relief paintings» of his Polish Village series (1970 - 1973).

Having first attracted attention with flatter - than - flat hard - edged paintings, Stella has been steadily expanding into space ever since, beginning with low relief and collage and proceeding to curved canvases, paintings with projecting sculpture - like elements, and out - and - out sculpture — although Stella prefers to think of his free - standing works as paintings in three dimensions or «sculptural paintings,» rather than sculptures.

By transcribing a 2 - dimensional work of art (which in itself is a translation from a 3 - dimensional world) back into a 3 - dimensional relief with clay, both painting and sculpture students will be able to interpret planes, negative / positive space and perspective through the materiality of clay.

The exhibition, composed of approximately 300 paintings, relief sculpture and drawings will offer insight into his trajectory from minimalism (e.g.... Read More