Sentences with phrase «of paint surface»

It began a long exploration of paint surface and support that has become a key characteristic of his practice.

But painting as such has always been about a pictorial layering of the image that is discontinuous with the actual matter of the paint surface.

Expressionist painters explored the bold use of paint surface, drawing distortions and exaggerations, and intense color.

Even his flattest abstractions possess a gravitas of the paint surface and a sheer weight as objects.

Groff admires Rego's «vigorous treatment of the paint surface and a gritty abstract structure.»

Also, the clearinghouse reports that «heat gain reductions... are significant only for sun - bathed surfaces» and that the «reflectivity of the painted surface generally declines considerably with time.»

Gently wipe from one direction to the other - otherwise you run the risk of leaving an imprint of the rag in the middle of your painted surface.

He notes: «One of the things that struck me looking at these paintings is how little they make one aware of a picture plane; how very unflat they are; how very un-graphic in every sense; and yet, how true to the integrity of the painted surface.

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.»

While Borremans's technical command of his medium recalls classical painting — the rich tactility and special glow of his painted surfaces evoke the Old Master tradition and artists such as Francisco Goya — his compositions elude traditional interpretative strategies.

Rendered on a variety of coarse fabrics, recognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

ognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

This idea of the painting surface as a form in its own right arguably differentiated the Continental abstractionists from their AbEx counterparts.

How does the texture of a painted surface or a molded imprint in clay feel like today, when time and history collapse and weave together into one substance?

I have in mind the many artists who cut holes in canvas or paint likenesses of cotton or linen weave, as if to say, This is a painted surface on painted painting of a painted surface that is a painting; or the many more good little postmodernists who make art - historical references or paint in known styles, so the message is something like, This is a nod to other works of art, which tells you that this painting knows it's «a painting»... put me in a biennial.

They further accent the problem of the painted surface, almost as directly as Frank Stella with his more geometric approach around that time.

The large - scale paintings look like oversized, close - ups of painting surfaces.

Pollock, Krasner, de Kooning, and others obliterated the very distinction between painting and drawing — or among the flatness and symmetry of canvas, the shallow space of its painted surface, and ideal, infinite space of vision and representation.

The works in the exhibition display his characteristic textured treatment of the painted surface, built with layer upon layer of thickly encrusted acrylic paint mixed with pumice and often finished in vivid colours.

Eight Artists examines the unique and in many cases sensitive handling of the painted surface by each artist included in the exhibition.

Its grand scale is matched only by the emotional intensity of its painted surface.

His almost spiritual assertion of the emotional power of the painted surface is embodied in works such as this and his «zip» paintings, all containing a simple column of differentiated pigment that could contain such powerful and provocative associations.

Rather than seeking absolutes in truth and beauty, they are undogmatically propositioning the significance of the painted surface.

Organic shapes are blasted apart by bright, unnatural tones of hot pink and acid green, while forms that reveal Wirsum's education in the vocabulary of modern abstraction are disengaged from the history of oil painting through the smooth, manufactured qualities of the painted surface.

A couple of the paintings, such as «Hebe» 2011 (pictured) have been split into two sections — at first, the cut is hard to perceive; it disappears within the shadows and shapes depicted on the surface of the canvas — treading a careful line between an impulse towards sculpture whilst asserting the flatness of the painted surface.

Notwithstanding the use of acrylic paint, he makes the influence of illustration apparent, equally attending to all of the aspects of the painted surface without leaving anything to chance.

Her work is concerned with the spatial potential of the painted surface, explored through the construction of geometric configurations that map the pictorial relationship between two and three dimensions.

This not only created a specific individual identity through the alliance of word and image but also encouraged a close scrutiny of the painting surface.

The fluency and sensuality of his paint surfaces, and his wonderful command of light, never cease to astonish us.

Through these exhibitions, MCAC aims to provoke contemplation, dialogue and debate about the formal readings of the painted surface — colour, line, perspective and narrative.

While motifs are shared between the drawings and gouaches, the two bodies of work exist in distinct domains, one furrowed and creased, a progression of elements roughly scored onto the paper, the other a set of color - infused structures residing on the Apollonian sheen of the painted surface.

The suspended string, attached at either end to wooden slats leaning out into space from the framing edge, forms a graceful catenary arch in front of the painted surface.

Selected elements of the painted surface are transferred onto the underside of the Perspex.

The driving force behind the creation of his work is the intuitive process of painting, in which Moses emphasizes gesture, mark making, and exploration of the painted surface.

Not actually visiting, I can imagine seeing the work, and I can also remember other works by Dower that I have seen before, like the one I saw here once at the Eagle Gallery, and where, in a conversation with the gallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted surface.

«For contemporary figurative painter Kent Williams, «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work» as its narrative aspects.

And how their highly personal analysis of painted surface implicates a play between painting and sculpture: Pinelli?within the Mediterranean matrix exposed by the influential art critic Achille Bonito Oliva in reference to the Italian Minimalia, while Visser and De Jong?along a northerly artistic trajectory, as both found inspiration in Iceland and live and work in the Netherlands.

By mixing his oil paint with beeswax, Marden reduced the shine of the paint while increasing the texture of the painted surface.

They are born out of a process primarily concerned with surface: the creation and refinement of the painting surface.

We are forced to return to the work as a sculpture, to consider both interior and exterior space, finding our best views of the painted surfaces from the side.

The landscape - like abstraction bridges traditional compositional techniques and contemporary deconstructions of the painted surface by way of Abstract Expressionist imagery.

As one critic has pointed out, for Williams «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work as its narrative aspects.»

When they were first exhibited in the late 1960s, Frank Bowling's immense «map paintings» were widely celebrated for their vibrant color and subtle modulation of the painted surface.

Each begins with the preparation of the painting surface, which itself requires the application of numerous layers of medium in order to achieve the characteristically smooth, matte, and tactile finish that becomes a foundation for the subsequent composition.

These are very large paintings — as large as 8 and 10 feet — and every inch of painted surface is carefully drafted and rendered like a virtuoso.

In «Push Play», the artists explore how the time - based motion of video and the stillness of the painted surface inform and inspire each other.

All these artists have shifted the conventions of the painted surface to the multidimensional possibilities of sculpture

Since the 1970s, Holland's painting practice has remained distinct and the result of his unique combination of painting off the stretchers and on alternative supports; the use of non-illusionistic and literal additions of lattice, folds, protrusions from and undulations of the painting surface; as well as piercing the surfaces.

These «kite paintings» as they became known as, allowed the artist to further explore the boundaries of the painted surface.

Ideally the works are embedded into the wall, where the plane of the wall meets the plane of the painted surface...