Sentences with phrase «nature of the painted surface»

Not exact matches

Its rigid compositional attempt to define a rational space is undermined by the floating figures and particularly by the raw application of paint, which sits on the surface of the canvas and reminds us of its autonomous nature as scraped pigment.

The scars of repairs, sometimes on the racing line, painted road markings and drain covers, and the general hilly and bumpy nature of the circuit, all contributed to an unpredictable track surface.

• Exterior design refined on an evolutionary basis with hallmark styling, proportions and body structure; characteristic design features such as hexagonal radiator grille, headlamps and rear light clusters with wide chrome surround, turn indicator element and peripheral body surround in black reinterpreted and given additional emphasis due to the surface design in each specific area; high - end details underscore the sophisticated nature of the new model; five exterior paint finishes, roof in contrasting colour available as an option at no extra charge.

With precise, clipped versions of nature but a joyful surface quality, the paintings juxtapose the hard edges of architecture with the dynamic chaos of the natural world.

My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

Abstract Expressionist artist Robert Motherwell called paper the most «sympathetic of all painting surfaces,» remarking that «it's a struggle to get a canvas to have the beautiful surface that paper, by nature, already has.»

Because of the luminous nature of the paint and the surface grid suggestive of woven cloth, the series just named itself.

In the same manner when looking at the nature of the paintings worked surface, the imagery's style of rendering, or the scale and impact of the works one must consider multiple traditions.

However, Moses goes one further, reducing his surfaces to murmured discourses about the nature of painting itself.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

With its vibrant palette of warm golden colors and a surface infused with painterly passion, Joan Mitchell's luxurious canvas, Blueberry, belongs to a group of significant works which demonstrate the artist's unrivaled skill at producing paintings which evoke the rich emotions of nature and landscape.

The nature of making, of building, of putting paint to surface wouldn't be so much fun if it didn't require a kind of backwards trek (often made while facing forwards), stumbling over what the painter is «expected» to make.

Based on composite photographs, the paintings provide a view of the earth's surface as imprinted by man and nature.

«My goal in painting,» he explained in 1962, «is to create pulsing, luminous, and open surfaces, whose color alone emanates a mystical light, harmonizing with my deepest experience of life and nature.»

In the uniformity and repetition of the shapes, they seem to underline the formality of fixing nature into a stillness, but what unites these works with her more naturalistic landscapes are the deft, confident strokes of paint that seem to arrive effortlessly on the canvas, and their contradiction with the more preciously applied marks that flicker and activate the painting's surface, along with our eye.

These deliberate and calculated gestures, which Richter employs to both apply and subsequently remove passages of pigment from the surface, are at the heart of his painterly practice, designed to dissect the nature of painting and produce a work that is part chance, part inspiration, part creation and part destruction.

She shares an interesting perspective on the physically demanding nature of spray painting in relation to traditional oil painting, as well as other differences and advantages the technique offers including speed and a uniform surface.

It is the unusual quality of this mind, penetrating nature to the core yet never striving to show its surface, that has been projected into paintings which captivate many and agitate others by their strange, often violent, ways of expression.

The primordial nature of Still's paintings is further enhanced by the dramatic fissures which he opens up across the surface of many of his works.

As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, 3 - D perspective illusion and references to external subject matter were all found to be extraneous to the essence of painting, and ought to be removed.

From 5 November the Museum will present paintings, watercolours and drawings by the prominent Irish artist William McKeown, whose monochrome works defined by their highly - finished surfaces explore the delicate qualities of nature.

The fluid nature of the surface exists in stark contrast to the precise timecode of the file capture, placing the painting not solely by year but to the precise second it was generated.

She put these ideas into practice in the development of what has come to be called her All Over style, an approach to painting that covered the entire surface of her works with abstract motifs evocative of nature.

Indeed, the fundamental subjects of Katz's landscape paintings are form, surface, space, and light as they are subsumed in nature.

In these paintings, the artist continues to use the plates, but rather than using them to disrupt the picture plane, he incorporates each piece to create a homogeneous surface that recalls the rhythms of nature.

Transient in nature, his paintings in paint and gold leaf applied directly onto the surface of a wall or ceiling are almost always removed when the exhibition comes to an end.

The strength of her manner lies in its refusal to deny abstract painting's nature as elaboration of a surface with physical stuff - plus the optical stuff of color - and decisions.

The pictures of the last fifteen to twenty years insist on a radically new orientation, in which the painted surface is no longer the analogue of a visual experience of nature but of operational processes.

The title of this painting introduces a certain level of existentialism, implying that the figure reflected in the surface of the water is wondering about the nature of his own soul.

His intense reflections on the nature of materials, textures and surfaces lead to the creation of some of his most important works: the sand paintings.

Utilizing a number of different supports including canvas or linen, fiberboard and marble dust panel, Olson plays with the notion of surface and framing as constructs in his work, at times, employing handmade frames and thick borders of unpainted surface around a central painted field that act as both a physical edge to the painting and call attention to its nature as both an image and an object.

Olson considers surface and framing as constructs in his work, employing handmade frames and, at times, thick borders of unpainted surface around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an object.

He also told the compiler that his interest in painting on such a large scale was to do with the way in which the nature of his stippled style changes in appearance according to the size of the surface.

My first big challenge was to leave it the way it was knowing that I'd layer more product on top of it and nature doesn't age anything perfect, so why would I start with a perfectly painted surface?