Sentences with phrase «moved painting toward»

While other members of the School moved painting toward cool, formalist images, Mitchell persisted in maintaining the basis of her style in action painting, and achieved paintings of great emotional and intellectual intensity.

Like the philosopher and mathematician Blaise Pascal, Quaytman appeared to grasp the logical limits of his craft and, in doing so, move his painting toward the point of intuition.

Not exact matches

Great portrait painting may gesture toward the larger frame within which an individual life moves and has its being.

This idea governs Kandinsky's call for painting to move away from the representation of objects toward works that arise from the artist's «inner need» (CSA 29ff.).

1998: Large hoard of painted ceramics is found in a later part of the site, suggesting greater significance was given to pottery as the settlement moved out of the Neolithic and toward the Bronze Age.

Massie adopted Mao as a kitten in Ashville, N.C., and the pet followed its now -32-year-old owner on moves to Athens, Ga., San Bernardino, Calif., and finally to Charlotte, N.C., where Massie is working toward earning a fine arts degree in painting at the University of North Carolina at Charlotte.

Just as modernist painting bears the traces of the painter's movements and presence, and modernist literature has moved toward the first - person essay, the autobiography, and the diary, so the strain of modernist filmmaking that was launched with the French New Wave has integrated the filmmaker's methods with the movie itself, and turned fictions into documentaries about their making.

In this beautiful first novel set in South Africa, Lisa Fugard paints a haunting portrait of a family careering toward disaster, moving with extraordinary agility between intimate and revelatory domestic scenes and the fiercely challenging land.

All were moving in a new direction away from the violence and anxiety of Action painting toward a new and seemingly calmer language of color.

Morris Louis's painting Where 1960, was a major innovation that moved abstract expressionist painting forward in a new direction toward Color Field and Minimalism.

Done in enamel on identically sized aluminum panels, the highly concentrated compositions are the result of a visual algorithm in which the forms increased incrementally in height and width as they moved outward from the central, vertical axis — a narrow, empty space — toward the painting's physical edges.

He moved away from Minimalism toward a new painterly painting with seemingly unlimited possibilities.

Asked if she is noticing a recent move toward intimacy in painting, she says, «I've always worked this way, but it hasn't been trendy until now.

Greenberg argued that the evolution of painting was one of historical determinacy — that ever since the Renaissance, pictures moved toward flatness, and the painted line moved away from representation.

Mack is moving toward reflective materials in motion in resin and cloth, but Jesús Rafael Soto from Venezuela has his own «vibrations» in paint.

And there was also a change in Helen's work at the beginning of the 1960s, moving it toward the Color Field painting with which she would become most associated.

[1] In the late 1930s, she started to move away from realistic work toward abstraction and experimented with painting on layered glass.

Perhaps artists, like Mr. Kreimer, by exhibiting both realist and abstract works of art, are moving the subject of painting away from presentation of an image and toward the act of perception.

There her paintings moved toward abstraction.

Transitioning from the sparer, more graphic works of 1960 — 61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the «total color image» that would become a hallmark of her later work.

In «7.11.66» (1966) and «3.12.65» (1965), the intervals of the angled planes, as well as their orientation toward the painting's picture plane, move attention in and out of a space that is saturated with color.

Subsequently, there was an occasional sighting of a new painting at an art fair, and rumors had it that Martinez was moving toward abstraction.

With the advent of the 1960s, she moved away from her highly colored and collaged paintings toward sculpture and assemblage.

Paintings of this period moved toward landscape and figuration.

Building on a version of stain painting and mostly depicting couples, these works start out simply with flat blazing color and move toward mosaiclike complexity.

Yet by 1935, just as the New York artists began to seek a regionalist identity for their modernism, Jonson moved toward visually intangible subjects in nonobjective paintings, free of any obvious reference to the natural world.

I often find that careful measuring takes me away from my natural way of seeing so I tend to avoid doing too much of it... I usually don't invent things or move things, but I will bend or stretch or shrink things to fit a compositional need, not always consciously... I do paint a lot at street level and have over the years, but I have loved being high up for as long as I can remember... I believe my first 10 years living in Washington Heights at one of the highest points in Manhattan with a view from the ninth floor toward the Cloisters created some kind of archetypal inner landscape.

Beginning as a conservative admirer of Signorelli, El Greco, and Tintoretto, Beckmann quickly moved toward painting the tight, hectic scenes of European interwar life for which, in part, he became famous.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

But at one point you simply moved more and more toward a collage, collage and painting.

As New York painters were progressively rejecting illusionistic space and moving toward a more literal space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of painting in favor of sculptural space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow painting to evolve without losing the basic elements of its identity.

The rediscovered artists range from Milton Resnick, a 78 - year - old former abstract expressionist who has moved toward figurative painting, to Judy Linn, a 47 - year - old photographer, to Jane Freilicher, a 70 - year - old landscape painter.

All of them are monochromatic squares filled with a carefully controlled field of differently colored dots, a luminous center slowly dissipating as it moves toward the painting's edges.

He moved on, at the end of the 50's, to flat, near - life - size cutouts of painted aluminum that stood upright like sculptures (one of his son, Vincent, holding a fish toward the viewer is in the Farnsworth show), and then to easel painting: single and group portraits of a scale and approach dramatically different from those of the miniaturized collages.

His voluptuous silk screens and thornily congested combines, bristling with found images and objects of all sorts, helped loosen the stranglehold of Abstract Expressionism and moved American art toward the lively new frontiers of pop art, conceptualism, even an environmental consciousness (his paintings made with live grass, an installation of bubbling mud).

11/5 Pádraig Timoney Through 12/21, Andrew Kreps Gallery The intentionally hard - to - categorize Irish artist has been moving away from photography and installation and toward painting, with thrilling results.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

These illusionistic paintings evoked rhythm and an underlying musicality, yet a move toward Abstract Expressionism would introduce an even greater presence of the artist's psyche is his work.

Recently, he has moved toward more abstract forms in paintings and drawings and has also begun to make sculpture.

By the mid-1960s, however, Rothko was moving on from there, following a larger art - world trend toward paring back — sometimes all the way to black, as in other inky paintings of the era by Frank Stella and Ad Reinhardt.

His career seemed to move inexorably toward creating an extra dimension, as his paintings took on the sculptural quality of shaped canvases and pushed into the gallery space, becoming more and more three - dimensional.

Thus began a change in painting philosophy, moving away from the style of flatness for which Stella was known, toward new explorations of space and depth — a transformation that would be integral to the painter's evolution.

In this exhibition, Weiser moves further toward geometric abstraction from the figural representation of a head and torso that underlie the structure of the paintings in his first exhibition at the gallery in October of 2007.

It was a retrospective progression of his paintings, tracing the path from his beginnings in the Dutch traditional style to his abstract paintings, firmly establishing the artist's pivotal role in the international art world's move toward abstraction.

Jackson Pollock's paintings and those of Willem De Kooning move toward an extreme of skepticism and rejection.

Schmelzer: You've said a few times that you want to paint without hesitation and move toward abstraction.

Mr. Stella rose to fame a half - century ago by painting pinstripes on canvases cut to look like geometric shapes — a move that helped push postwar art beyond the roiling brush strokes of Abstract Expressionism toward the flatter simplicity of Minimalism.

Opening: Anna Glantz at 11R Anna Glantz's quaint - looking paintings take the figural impulse of many young artists right now and move it toward an emotional end.

Fine and decorative arts objects have been high on the Cleveland Museum of Art's wish list, and through purchases from endowment funds the institution has acquired the 15th - century Byzantine icon The Mother of God and Infant Christ, which has been attributed to icon painter Angelos Akotantos; a 1977 abstract painting, Rho I, by Jack Whitten; contemporary Chinese artist Xu Bing's 1985 woodcut Five Series of Repetition: Moving Cloud (Yi - yun); and William Turner's ca. 1850 watercolor A View from Moel Cynwch: Looking Over the Vale of Afon Mawddach and Toward Cader Idris.

decided this took too long with my pitifully tiny spray bottle, so I moved more toward the «dippy» method, i.e. dipping brush in water, then paint + water mix and applying.