Sentences with phrase «many forms and colors»

A tattoo has form and color and meaning, but it also solicits a social recognition, a «This is me, check me out.»

I'm struck by the incredible variety of forms and colors that I take in with a single glance.

The fruit is variable in form and color, as is also the plant.

Not sure if it's an F8... but I am sure that we ONLY keep the pods that are true to form and color and they are the seeds we sell to you.

This toy has been around for years, taking on different forms and color combinations.

As the natives of Bikini atoll clutch their worldly goods and flee, tenor voices sing of «a gigantic shimmering mushroom, ever changing its form and color.»

Knitwear comes in many forms and colors, we know that.

These that I show you today are from Zara, are very comfy and i love their form and color.

It comes in all forms and colors so today meet the sister, the denim shirt dress.

That something, is obviously love, in all of its shapes, forms and colors.

He's the creative mind of the team, a design obsessive who enjoys using words, forms and colors to affect and improve user's experience in any field.

Has the stool form and color changed?

Epiphytic algae of many different types covers the parts below the high tide mark and lichens of many forms and colors cover the branches where the tide never reaches.

A tower defense game based on geometric figures.Place towers and do not allow the enemies to cross the road.The forms and colors indicate how strong the towers and enemies are.The more points that a tower has, lesser damage and faster.The more points that a enemy has, slower and more life.

Optical painting may look anything but emotional in its content, but its direct engagement with the viewer underscores a deep - seated longing to connect... The genre has matured considerably over the past half - century, veering from cheap tricks toward labor - intensive analyses of form and color, and a deeper understanding of the act of seeing.

Kohler writes: «The warmth in Davidson's paintings is both related to the strange and inventive forms and color ideas they contain and to subtle decisions such as repainting by hand edges that were initially made using tape.

The exhibition Creation in Form and Color: Hans Hofmann is a collaborative project by the Berkeley Art Museum, the Pacific Film Archive at the University of California (BAMPFA), and the Kunsthalle Bielefeld.

Despite differences in materials and discipline, both de Kooning's paintings and Chamberlain's sculptures explore the possible treatments of form and color, solid and transparent volume, and surface and depth as continually evolving and merging elements.

The exhibition «Donald Judd: Paintings» presents 14 paintings created by the artist between 1959 and 1961, which were vital transitional years for Judd in his experimentation in form and color.

Separately, gallerist Patrick Dawson spoke of the relationship between the forms and color in Portilla's work.

In cooperation with the University of California Berkeley Art Museum and Pacific Film Archive, Kunsthalle Bielefeld will present the exhibition Creation in Form and Color, dealing with the work of the German - born painter, Hans Hofmann.

Form and color are one.»

On view at the gallery are three new collage - paintings, built up piece by piece with acrylic tesserae and casts in intriguing forms and colors.

Propelled by inspiration from nature, the painter continues his exploration of form and color in a fresh way.

Diebenkorn's practice is unique in that he deftly marries the flat color and planes of brushwork so lauded by the Abstract Expressionists with representational subjects that are influenced by some of Matisse's visual tropes and his dynamic creation of space through form and color rather than perspective.

In terms of form and color, his works are stimulated by the logos and trademarks of this period.

The current paintings describe social anxiety in daily miscommunication, using form and color as stage characters for imposed environments.

The painting has been likened to Ingres for simplicity of line and smoothness, to Egyptian Funerary art for pose, to Cézanne for flat planar composition, to Picasso for form and color.

As simple meditations on form and color, her canvases are frequently compared to the easel - sized abstractions popular before Abstract Expressionism emerged, and at first glance they seem unremarkably mundane.

Through his play with surface texture, forms and color, Mizù has adopted the representational system of maritime flags and created an abstract body of work that is both visually and mentally stimulating.

A pioneer of the Op Art movement of the 1960s and one of the most significant artists working today, Bridget Riley's dedication to the interaction of form and color has led to a continued exploration of perception.

A calligraphic leafed vine, painted in varying forms and colors against different grounds, is a recurring motif in the new work, which continues Amenoff's thirty - year exploration of an intense, romantic, physical, and densely woven semi-abstract landscape vision based both on observation and personal interpretation of the natural world.

Reduced to simplified geometric forms and colors inspired by their namesake, these painted wood works created just before his death are a poignant testament to an inventive and dedicated artist who, despite little recognition from critics or the public, strove to perfect his art until the end.

Nothing but clearly - organized, self asserting painted surfaces of non - objective / non-representational form and color, these pictures were so radically new that they seemed to many people to have announced the end of painting and, even perhaps, of art itself.

Rather than simple mimesis of the natural world, the Expressionists chose to radically distort the forms and colors of the world in their raw depictions in order to arouse an emotional response from their viewers.

Peter Wüthrich makes reference to Minimalist sculpture and monochrome painting, simulating and creating landscapes and objects with playful use of form and color.

Since the beginning of his career, Ellsworth Kelly's emphasis on pure form and color and his impulse to suppress gesture in favor of creating spatial unity have played a pivotal role in the development of abstract art in America.

He believed that «working without history is a kind of visual starvation» and that the Midwest Paint Group «included a sense of the abstract construction of the forms and colors and their rhythm in light and space.»

Working within a strict set of limits, he created a string of similarly grand, powerful works and defined many of the ideas about line, form and color that still drive his work today.

The natural world, loosely defined as landscape, suggests the forms and colors that inspire the paintings.

Despite using purist notions of abstract form and color that date back to 1950s art critic Clement Greenberg's domineering brand of New York School formalism, Lawson fashions nothing short of a vicious attack on photography's «objective eye» via these modestly sized canvases.

Although there is a clear relation to nature in the forms and colors, at the same time those paintings, including Ladybug (1957) at MoMA, have a bold confidence in the sculptural individuality of each stroke of paint in a manner which anticipates the post-minimalist approach of painters such Joan Snyder.

Deviations appear in form and color, the irregularity of the writing suddenly appears very strange: our impressions, reinforced by the exotic turquoise color, coalesce into a sort of «Far Eastern Helvetica.»

The subtlety of patterns in natural forms and the colors as they appear in the natural world interest me.

They abandon recourse to mythical symbols and show Gottlieb's exploration of pure form and color.

It is the paired - down interplay of form and color that makes Resika's work both abstract and evocative of our visual experience.

Bolotowsky was one of the founding members of the American Abstract Artists, a New York organization active during the 1930s and 1940s that opposed realistic styles and embraced non-objective subjects based on pure form and color.

Inspiration for these paintings comes from living in Long Island, New Jersey, Colorado and Venezuela, the strong forms and colors found in Georgia O'Keefe's, Sean Scully's and Nuala Clarke's paintings, years of moving from one place to another, and my work as a psychotherapist.

The open interplay of different parameters like space, void, form and color as well as the aspect of an active involvement of the viewer contradicts the traditional theory of the image as a static and hermetically sealed object.

He has always painted with a very hard edge, and with very flat colors, but after graduation and moving to New York, he gradually began eschewing both form and color, aside from black and white.