Sentences with phrase «large flat canvases»

Pascali's other works involving canvas include «Grande bacino di donna, mons Venus», and «Labbra rosse», these works were large flat canvases that became three - dimensional sculptures through the use of wooden structures, paint, and other materials, though they were still able to be hung on the wall.

Not exact matches

Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges.

Five flat shapes dominate the large canvas.

As soon as I moved into Sam's space, I did four large canvases — still representation but much flatter.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

Matthew Radford removes the effects of gravity in his painting process by working with his canvas flat upon the floor and employing improvised walkways across the surface of the larger pieces.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

On the Edge: Judith Belzer at Morgan Lehman by Alexandra Anderson - Spivy Judith Belzer's recent paintings careen between the vertiginous grandeur of her larger, blueprint - like compositions and the close - up, increasingly flat and microscopic intimacy of her smaller canvases.

To create them, large quantities of paint are poured onto a canvas laid flat on the ground; a variety of objects, which might include clumps of ribbon, shiny pipe cleaners, styrofoam balls, and other bric - a-brac, are then tossed into areas where the pooled paint has yet to dry.

Those that are visible feature flat patches of color, stripes, passages of loose paint - handling, and large areas of blank canvas.

Although the color and canvas are bound together on a totally flat surface, our eye moves, in her words, «miles back and forth» through the fictive space the artist creates out of her large, open washes of color.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»