Sentences with phrase «latest shaped paintings»

Mokha Laget's new work creates illusions of 3D structures floating in space Mokha Laget is excited about the direction her work has taken this year and thrilled to be showing her latest shaped paintings at David Richard Gallery in the show «In Shape, In Color,» which opens on September 8.

Not exact matches

I haven't mentioned Meanwhile There Are Letters: The Correspondence of Eudora Welty and Ross Macdonald, edited by Welty biographer Suzanne Marrs and Macdonald biographer Tom Nolan (the most touching collection of letters I've read in years), or the latest volume in The Complete Letters of Henry James, or Catherine Lampert's superb Frank Auerbach: Speaking and Painting (which the painter Bruce Herman will be writing about for Books & Culture), or James Curtis's fascinating and beautifully produced William Cameron Menzies: The Shape of Films to Come.

The document stresses both mothers» and fathers» importance as educators, making clear that when fathers and mothers talk, play, read, paint, investigate numbers and shapes or sing with their children it has a positive effect on children's later development — and that mums» and dads» involvement in reading is the most important determinant of their child's early language and literacy skills.

You could also use plain blue construction paper and let them go crazy with the puffy paint and then cut them into cloud shapes later or leave the paper as is.

Sadly, it just some concept artwork and not any actual screens from the game, which isn't slated to release until 2010, but it still paints a (pretty) picture of how the latest addition to the series is shaping up.

He revolutionized painting in 1959 and 1960 with his stripe paintings and later his shaped canvasses.

Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized figures found in the paintings that Jan Müller was making around this time, or Bob Thompson just a little later.

And so at the moment about two dozen of Ms. Crockett's sparkling late paintings, with their bright tangles of jazzy lines and shapes floating on pale, brushy backgrounds, form a surprising exhibition at Meredith Ward Fine Art.

Throughout Resonating, viewers will note Green's various uses of a fan shape: in early works such as For All & None (1978), the fan acts as an essential symbol, suggestive of deeper spiritual meaning; in Taxes (1993), one of her later black and white paintings, the fan shape becomes a central formal element that unifies the composition; in She Dreams (1996), the fan shapes create a complex formal variation which co-exists with other images.

Murray introduced her first serious series of thickly painted, shaped canvases in the late «70s.

Nearly all the paintings in this show of recent work by Geoff Hippenstiel, a Houston - based painter in his late 30s, feature a single massive shape occupying most of the available space.

Characterized by mathematically complex compositions of color, shape and dizzying pattern, the term «Op Art,» was first used by artist Donald Judd in his review of Julian Stanczak's «Optical Paintings,» and was later popularized by a 1964 Time magazine article, catapulted the term into main - stream use.

The Subject and Me tells the story of the turbulent events that shaped Alice Neel's life, through a retrospective of drawings and selection of late paintings.

Active in the Post-Sense Sensation events from the late 1990s, his work has explored a wide range of mediums from painting to film, installation and sculpture as he gradually shaped a unique artistic approach that has garnered increasing acclaim across the world.

The earliest examples — the Aluminium Paintings (1960) and Copper Paintings (1960 - 1961), were followed by works that extended the concept of the shaped canvas, including the Irregular Polygon canvases (1965 - 67) and the later Protractor series (1967 - 71).

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

Their formal appearance of window shapes bring to mind Max Beckmann's paintings from his exile years in the United States in the late forties, which often depicted window tableaus.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

In many ways, Yamaguchi's latest paintings appear to be a departure from her past work, but upon reflection her concerns are similar — how to merge shapes and textures into a seamless composition.

Influences converged, passion and intellect were engaged, and seminal moments occurred to help shape the process: in 1962 when Irving Blum (who had taken over Kienholtz's position at the gallery) gave Andy Warhol his first solo gallery exhibition ever at Ferus (the Campbell's Soup Can Paintings); in 1963, when Hopps moved to the Pasadena Art Museum and presented the first retrospective of Marcel Duchamp in the US; in 1966 with Ed Kienholtz's epochal retrospective at the LA County Museum; and in the decade from the late fifties to the late sixties when Ed Moses, Billy Al Bengston, and Ed Ruscha among a handful of others were on center stage.

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

This exhibition, specially conceived by the artist for the Lisson space, will include two of the latest wall paintings within the main ground floor gallery that will face each other across the L - shaped exhibition space.

The exhibition is one of Stella's largest to date, spanning around 100 works and his entire career, from the «Black Paintings» that propelled him into the art historical canon, to his later works, controversially exuberant mash - ups of shapes, gestures, and styles.

The early paintings are blocks of color and shapes that are based on things and scenes that Judd saw, later he moved to abstract shapes without the references and this in turn became shapes on fields.

His later paintings returned to the pared - down balance and stark shapes of previous years, often touched with hints of surrealism, yet always recognisably his own.

During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two - year hiatus from painting.

Running alongside the EY Late Turner exhibition until the 25th of January, this new series of paintings in the form of doughnut shaped canvases are Eliasson's response to these seven works by J.M.W. Turner.

By the late 1950s, he taught at Hunter College in New York City and he developed a singular style of painting that focused on intense color and simple geometric shapes.

The first shaped canvases have a scale, creepiness, and beauty that stand out compared to the fussiness of her paintings from the early 1970s and of her later work as well.

Youngerman began working with these elegantly carved shapes in the 1970s; the piece at the Parrish combines the gestural form that is reminiscent of his earlier work, with the boldness of color and central configuration of his later plywood paintings.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

Highlights of the exhibition include mixed - media works from his Great American Nude and Still Life series» of the 1960s, shaped «Smoker» and «Bedroom Painting» canvases from the 1970s and «80s and his inventive cut - aluminum wall works and later «Sunset Nude» paintings, which paid homage to artists that Mr. Wesselmann admired.

Many of his later paintings and works on paper shifted toward «romantic symbolism», and their titles can be interpreted visually through shapes and forms and words.

Effulgent in their gorgeous, low - toned palette of greys, mauves, greens and a whole range of pinks that are Avery's trademark, these late paintings appear modest and even simple — the shapes flattened and nearly blunt, but balanced in the most elegant compositions.

His paintings of hawsers, lobster buoys, anchor chains and boat gear now look like a farewell nod to Guston, late Guston in which the master piled natural forms — cherries in a nod to Chardin's strawberries — and geometric shapes arranged with a startling muscular logic.

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.

Gund decided to give a Frank Stella star - shaped painting called Plant City, which had roosted beside the fireplace, to the Philadelphia Museum of Art in memory of its late director Anne d'Harnoncourt.

Rather than painting thickly with opaque paint, Frankenthaler used oil and then later, acrylic paint, thinly like watercolor, pouring it onto raw canvas and letting it soak and stain the canvas, flowing into shapes of flat translucent color.

Made by cutting and tearing shapes from paper hand painted by his assistants in a range of bright colours, Matisse began experimenting with this cut - out method in the late 1930s, adopting it wholeheartedly by the late 1940s when ill health prevented him from painting.

Mark Rothkoâ $ ™ s search to express profound emotion through painting culminated in his now - signature compositions of richly colored squares filling large canvases, evoking what he referred to as â $ the sublime.â $ One of the pioneers of Color Field Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled painting culminated in his now - signature compositions of richly colored squares filling large canvases, evoking what he referred to as â $ the sublime.â $ One of the pioneers of Color Field Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled setting.

In the late 1960s, he began making oil - on - linen paintings on distinctive saddle - like stretchers, at once concave and convex, featuring one or two biomorphic shapes against differently colored backgrounds.

Paul Cézanne's late 19th - century paintings reduced the world to basic shapes — spheres, cylinders and cones.

Pindell revolutionized painting from her early, radical explorations of color and shape to her later work that expanded to address human rights injustices such as war, famine, homelessness, racism, and the AIDs crisis.

The two exhibitions pay tribute to the late artist, whose idiosyncratic paintings have helped to shape the course of art since the mid-20th century.

His output in the 1940s focused primarily on geometric shapes, advancing to paintings rendered in a single color after which he developed his signature black paintings in the late 1950s.

Dubuffet had a capacity for self - renewal and his paintings continued to evolve, but it was only in his later years that they became less constructed and more fluid, every surface covered with dense colors, shapes, and images.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

Noland's final solo exhibition, Kenneth Noland Shaped Paintings 1981 - 82, opened on October 29, 2009 at the Leslie Feely Fine Art Gallery on E. 68th St. in New York City and was scheduled to close on January 9, 2010, though the closing date was later extended to January 16.

Black - painted and Gilt - lettered «MISS M.F. HASKINS MILLINERY» Trade Sign, America, late 19th century, double - sided shaped sign with rounded ends, ovolo corners, and chamfered edges, the lettering More...

A few steps later, you realise that the figure is also facing a long black stage, which is covered with a collection of other creepy objects: an immensely long stuffed man, drooping miserably across a large, badly painted canvas of two more nasty figures; a paper human head shape containing thoughts of a shit - smeared builder, and below, his bared bottom; a gathering of toy babies; a cartoonish painting of a little boy hitting a drum.