Sentences with phrase «natures by an abstraction»

While a full account of the divine dynamics must perforce dwell on these interactions, we may briefly consider these distinct natures by an abstraction of reason.

Not exact matches

Thus, although his starting point in physical nature and individual psychology is nonformal, he makes logical and mathematical departures from this position to explore formal possibilities achieved by abstraction.

However, he does not relinquish his basic doctrine that time is in nature and while allowing time to have formal aspects by abstraction, he does not equate it with a lifeless form (MT 127).

An alternative route of abstraction, by thinking away all energy that sets up physical relations, and thinking this away by having substances too dense to release radiation, also leads to a space concept that may be approximated somewhere in nature.

In the theory we are offering, since knowledge is by intuition and perception, not by abstraction of only part of the singular real, this ultimate universalism of the nature as sort or species, is said to be a singular real and also a concept defined within a distinct limit of formal variability, both as real, and also as concept.

Natures were understood by abstraction, and being itself was conceptualised in an analogous concept.

But the clear insight into its meaning which is given by modern scientific philosophy shows that by its inherent nature and definitions it is but an abstraction and that, with all its great and ever - growing power, it can never represent the whole of existence.9

Hence, by virtue of this doctrine of physical purpose, Whitehead can maintain that there is mentality in all actual entities and yet agree that this can be ignored without loss when one is concerned with certain abstractions from the full reality of nature.

Whitehead's «method of extensive abstraction» is used not only in his early writings in the philosophy of natural science but also in his later, more metaphysical, writings to abstract from the complexity of the relations which comprise the datum of sense - perception and to isolate by a conceptual analysis those relations which express a uniform metric structure, that is, to «exhibit» a basis of uniformity in nature.21 It is the sense in which this uniformity is «required» that is the crucial point for further investigation.

Similarly, Voskuil contests Oomen's claim that the unity of God is determined by a single divine aim arising out of the non-temporal valuation of the divine primordial nature: «a constant aim is only an abstraction from actual aims, not an actual aim itself.

By understanding presence as something more than «mere appearances,» Dillenberger has come to consider abstraction the pictorial procedure by which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper trutBy understanding presence as something more than «mere appearances,» Dillenberger has come to consider abstraction the pictorial procedure by which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper trutby which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper truth.

The primordial nature has no aim, nor can it exist by itself, because it is abstract, and abstractions are only characteristics of concretes» (134).

Vannes, France, Europe About Blog Inspired by natural forms, Stéphanie Kilgast grows colorful organic sculptures on abstract backgrounds, celebrating the beauty of nature and opposing it with abstraction, often a metaphor for the brutal impact of human activities on Earth's biodiversity.

Vannes, France, Europe About Blog Inspired by natural forms, Stéphanie Kilgast grows colorful organic sculptures on abstract backgrounds, celebrating the beauty of nature and opposing it with abstraction, often a metaphor for the brutal impact of human activities on Earth's biodiversity.

Taking the role of a firefly inspired by nature, you inhabit a Tron-esque world of abstraction and «bio-luminescence,» teeming with wonder and ripe for exploration.

Abstraction in Monochrome - Light in the Darkness - Inspired by the drama and beauty of Nature.

Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.

The paintings, glazed in a digital art like abstraction, are manoeuvred by a brushwork that is honest and unforgiving, reminiscent of Rembrandt in areas and which epitomize the very nature of class driven academia.

Joe Wardwell is represented by Fred Giampietro Gallery, New Haven, Ct «My paintings integrate landscape, text, musical allusions, and abstraction to investigate myths about «nature»...

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

Landscape by its very nature is more apt to incite thoughts of pure abstraction, but Untitled clearly brings the figure to the fore.

Yet, as he explored these areas, he began to realize the transient nature of their existence; the demolition / painting over of works; the destructive rays of the sun; and even the continuous movement of these abstractions by the trains they sometimes were attached to.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature - based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects — the skyscraper and the machine.

With his 1931 invention of a ground breaking form of artwork termed the «mobile» by Marcel Duchamp, Calder successfully synthesised European Abstraction, Surrealism and Dada with an American passion for invention, discovery and forces of nature.

Addressing concepts deeper than aesthetics — these four artists are influenced by the light they experience, the color they derive from their environment, and the focused study of nature through geometric abstraction.

Vegetation Ceremonies by Carol Rubin, on display at the Studio Gallery now until February 28th, distills the very essence of all vegetation in its various natures and plants the abstraction onto canvas for viewers to experience.

Ardent Nature: Arshile Gorky Landscapes, 1943 - 47 Ardent Nature: Arshile Gorky Landscapes, 1943 — 47, is Hauser & Wirth's inaugural presentation of works by Arshile Gorky, a seminal figure in the shift to abstraction that transformed twentieth - century American art.

Rifka Milder «s paintings are fantastic abstractions inspired by the nature of her Manhattan environment.

Inspired by nature, Billy Hassell's work combines elements of abstraction and representation.

Organized by curator Brett Abbott, the show tackles all aspects of Bullock's photography, from black - and - white landscape, nature studies and nudes to experimental work with color and abstraction.

By moving toward abstraction, art removes entirely the dialectic of nature and the imagination.

Inscape — the Inner Nature of Things contrasts twelve artists» diverse approaches to expressing emotion through abstraction, ranging from basic forms combined with loose, expressive lines in paintings by Louisa Chase, Mary Heilmann, and Perle Fine; to pure abstract gesture that governs the work of Friedel Dzubas, John Ferren, Hans Hofmann, Raymond Parker, and Esteban Vicente.

Her new body of work, Movements in Color, is nature - based abstractions driven by an exploration of movement, color & balance.

With his 1931 invention of a groundbreaking form of artwork termed the «mobile» by Marcel Duchamp, Calder successfully synthesised European Abstraction, Surrealism and Dada with an American passion for invention, discovery and forces of nature.

These paintings are pure abstractions, yet as the title suggests, Fitzgerald's art is inspired and informed by nature.

In the late 1980s, influenced by his growing interest and travels in Thailand, his style took a dramatic turn towards gestural abstraction incorporating calligraphic intricate lines on monochromatic panels — a nod to Asian characters and odes to nature.

By painting between figuration and abstraction, I'm embracing ambiguity and the knowledge that sex is complex: calm, violent, pleasurable, sad, joyful... I think the unpredictable nature of oil paint can get closer to what real sexuality is like.»

Regularly inspired by their modernist past, yet at the same time unburdened by it, each has also looked periodically to nature, not in opposition to abstraction, which was the charge presented against painting nature in the 1950s, but as a resource for enriching it.»

Hengst represents our withdrawal from nature by painting ethereal pieces that experiment with abstraction.

Though there may be a physical referent or memory on which an abstract painting is based — as for instance with Elaine de Kooning's Bullfight (1959), which is inspired by bullfights the artist saw in Mexico — the gestural and corporeal nature of abstraction ensures that the image is inextricably tied to the artist's hand, body, and mind.

Brian Rutenberg's recent paintings are influenced by Cubism, which he calls the «delicious conflict between naturalism and abstraction or... bending the laws of nature to fit the laws of art,» but Hans Hoffmann's influence is unmistakable.

There's now an opportunity for a contemporary art space with a focus on minimalist art to offer Evelyn Reyes a solo exhibition, not only because she is defined by her minimalism more than her outsiderism, but because she exemplifies ideals of reductive abstraction while bringing forth essential insight about its true nature, origins, and purpose as a result of her distinct perspective.

Challenging by nature, small scale works offer the artists the ability to work quickly and decisively, while giving a focus on craft and detail that is rarely seen in extra large abstraction.

An abstract artist, she delights in the freedom of abstraction and the ability to explore impressionism and expressionism, which are frequently inspired by nature and incorporate texture, geometric elements and bold beautiful colours.

Inspired by nature and the spirit, the new body of work seeks to understand «order, chaos, creation and human connection» through abstraction.

Following the traditions of minimalism and land art while pursuing a path toward abstraction, his photographs, paintings, public installations and sculptures have undoubtedly been influenced by nature and the Los Angeles environment in which he lives.

Foreword by James Rosenquist vii Preface by Ira Goldberg viii Acknowledgments x Introduction: Miracle on 57th Street 1 Part 1: Lessons and Demos 15 Henry Finkelstein: On Painting, with a Critique 17 Mary Beth McKenzie: Painting from Life 27 Ephraim Rubenstein: Painting from Observation 39 Thomas Torak: A Contemporary Approach to Classical Painting 59 Dan Thompson: Learning to Paint the Human Figure from Life 75 Sharon Sprung: Figure Painting from Life in Oils 91 Frederick Brosen: Classic Watercolor Realism 107 Naomi Campbell: Working Large in Watercolor 123 Ellen Eagle: Poetic Realism in Pastel 135 Costa Vavagiakis: The Evolution of a Concept 148 Part 2: Advice and Philosophies 165 William Scharf: Knowing that Miracles Happen 167 Peter Homitzky: Inventing from Observation 181 Charles Hinman: Painting in Three Dimensions 193 Deborah Winiarski: Painting and Encaustic 203 James L. McElhinney: Journal Painting and Composition 213 Part 3: Interviews 229 Frank O'Cain: Abstraction from Nature 231 Ronnie Landfield: On Learning and Teaching 251 Knox Martin: Learning from Old and Modern Masters 269 Concours: Painting and the Public at the Art Students League by Dr. Jillian Russo 282 Index 286

Untitled XII was created during de Kooning's most prolific period, when he moved from Broadway in New York to East Hampton and shifted the focus of his abstractions from figures to scenes inspired by nature.

Inspired by histories of modernist abstraction, architecture and the perceptual and organizational structures of nature, Mangrané's work encompasses drawing, sculpture, light, and film elaborated as part of poetically scripted environmental spaces.