Sentences with phrase «moving around the canvas»

During this procedure, he would move around the canvas in a trance - like state immersing himself fully in the work.

She constantly moves around her canvas to discover what is unfolding, instead of imposing a fixed plan.

Nechvatal writes: «The exhibition's title, The Figure of the Fury, refers to Pollock in the act of painting as he moved around his canvases, while simultaneously alluding to the expression, «fury of the figure» by the 16th - century art theorist and painter Giovanni Paolo Lomazzo (1584).

«The newest paintings,» Auping comments, «continue Rothenberg's necessity to fragment the figure and move it around the canvas as though it were being controlled by an invisible force.

With jazz 78s playing, he moved around a canvas laid on the ground, flicking and dripping paint.

It is the contrasting compositional format which slyly creates indeterminate spatial relationships in each work — what is foreground, what is surface, what color is it exactly, for the colors shift as one moves around the canvas, enhanced by his use of iridescent pigments.

[2] Kaprow absorbed lessons from Pollock about the expansive possibilities of art making, seeing how as Pollock rhythmically moved around his canvases laid on the floor flinging and pouring paint the act can become equal to or even greater than the product.

If you use a stiffer brush you'll be able to move it around the canvas easier.

Not exact matches

The follow - up to forgotten DS gem Kirby and the Canvas Curse, Rainbow Curse sees Kirby trade in his standard sidescroller moves to roll around in a ball for the majority of the game.

If composition with regards to painting involves moving the eye around and within the frame of the canvas, Sammak considers time another variable in the equation of form, that not only the perimeter of the frame but also the length of the video is a compositional limit.

Physically moving around a black - on - black painting of a cubic grid will reveal layers of optical illusions, while simply blinking when standing in front of a canvas covered in a complex navy - and - white pattern tricks the eye into seeing an oscillating, three - dimensional piece of art.

The stretchers that are normally hidden from sight and allow the canvas to become a picture exhibited on a wall, now become the physical object around which the viewer can move and look through.

At times he would crouch, holding the brush close to the canvas, and again he would stand and move around it or step on it to reach to the middle.

The intimate space and large canvases invite us to come forward, move backward, to walk around and to sit.

On view are his renowned large - scale paintings, which incorporate materials that change and react over time, with canvases literally moved around the artist's studio to accumulate sole imprints, fingerprints and dust.

★ Amy Sillman: «One Lump or Two» (through Sept. 21) Abstract painting is on the move in Ms. Sillman's spirited midcareer survey, jumping around from paper to canvas to phone and tablet screens.

He often worked with his canvases on the floor, moving in and around them in a dance - like fashion akin to Pollock's well - recorded methods.

Whitten began his career making large - scale works for which he used a modified squeegee or rake to move paint around the surface of a canvas placed on the floor.

While it was around this time that Frankenthaler's canvases began to achieve a lightness — a kind of openness that allowed the composition to breathe — it was in the 1970s that the artist had moved away from the literal and figurative landscapes seen in her early work, such as the celebrated Mountains and Sea from 1952, and towards a more emotional and expressive representation of Color Field paintings where she developed a new sumptuousness and sensuality characterized in the present work.

We make them on the raw canvas on the floor first so that they get worn - out and dirty and so we can change them and move the pieces around.

In 1959, he painted Tomlinson Park, part of the Black Paintings series that catapulted his career when he was just 23 years old and influenced other artists of his generation to move away from abstract expressionism and create work that was more painterly, more thoughtful and more experimental in terms of the use of space in and around the canvas.

Defining ideas, cultural time stamps, relationships, emotions, timelines and narratives — either behind the canvas or on it — these are fascinating and fun puzzles pieces we move around and put together in our minds when we study historical works of art.

Taking a cue from the revival in weaving and craft - based art, Zucker turned this relationship around and moved the canvas to the foreground, from surface to subject matter.

However the subjects moved with ease around the expansive canvas, enjoying the bustle of the crowd.

Just to prove to me that you could, in fact, move them around, Fogel walked behind one of Gustavsson's canvases and pushed it in front of me.