Sentences with phrase «of pictorial structures»

In addition, a key transitional figure linking pre-war with post-war American art was Stuart Davis (1894 - 1964), who brought a focused integrity to his pursuit of pictorial structure.

Not exact matches

Current studies include the structure of pictorial space throughout the history of art, particularly the dramatic emergence of geometric perspective in the 15th century.

Balthus begins to reveal the intensity of his commitment to color and pictorial structure.

The results provocatively hover between real and pictorial, imply performance and disdain any sort of traditional structuring.

By marking the edges of the paintings, she calls attention to their shape as significant, while the nebulous contents of the pictorial field — lacking the order and legibility of the grid — offer few clues to its inner structure and encourage the viewer to lose sight of place.

September 9 - 28, 2008 In 2007 Sydney Ball revisited the direct pictorial architecture of his Canto paintings to develop Structures 2, a series of radiant abstract colour works.

From the chambers at Knossos to the villas and municipal structures of Rome, from medieval and Renaissance ecclesiastical architecture to Baroque courts and palaces the mural was a primary vehicle for pictorial space, the wall the substrate of choice for public - scale allegorical figuration both secular and sacred.

This results in a diagrammatic structure in which different perspective axes, with the added vectors of distance and proximity, are applied to the equation of landscape and laboratory, representing both pictorial and abstract elements as contemporaneous and equivalent.»

Mr. Burban encourages individuality of expression through an exact analysis of the elements used to draw or paint the figure in compositional structure and pictorial space.

This has a crucial effect on the overall pictorial appearance, in that it immediately transforms the planimetric structure of the painted motif into an illusory perception of three - dimensionality within the image.

His lush and elegant Provincetown Piers from the nineteen eighties, his progressively more abstract Vessels series of the nineties, and his figures and landscapes from the early 2000s reveal his ongoing dialog with Hofmann's sophisticated ideas about color and pictorial structure.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Challenging the eye of the beholder, Reed's dynamic constellations never cease to open up new pictorial spaces: the energetic and singular gesture brushstroke of former works progressively condenses into structures of lines, waves or loops that often seem like edits from some other context, called into offer counterpoint in new visual arrangement.

Influenced by the works and writings of Wassily Kandinsky (1866 — 1944), Knaths became interested in music and believed that there were correspondences between musical intervals and spatial proportions, a theory that suited his cubist pictorial structure.

His new paintings of dunes, sea with moons, and mysterious geometric structures extend his landscapes further into a poetic multi-layered pictorial universe.

Matisse's transformative impact on their works is revealed not only by their adaptations of his palette and pictorial structures but also through their choice and appropriation of his subject matter — still lifes, landscapes, figurative works, studio interiors, and portraits.

He is concerned with the nature of reality, probing underlying pictorial structure through rhythm, movement and the logic of color and light.

Another highlight is the triangular Estructura (Structure), 1958, an example of Darié's «estructuras pictóricas» («pictorial structures»), wherein he explored notions of the frame and its relation to space and time.

A desire to dig deeper into pictorial space, coupled with her careful study of Cézanne, especially his practice of drawing with colour, led to a new structure — the introduction of planes formed by the junction of intersecting verticals and diagonals — and of colours and contrasts.

In interacting with the work over a significant period of time, we felt that that the most compelling way to structure the exhibition was to expose the common threads that run throughout this material: formal constructs such as grids / fields, verticality, pictorial imagery, and repetitive sequences; content such as color as subject, element as subject, interest in early American history (particularly that of Massachusetts), discourse about other artists and art; and relationships to the history of poetry.

Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls «the internal structure of the pictorial act» in the revolutionary art of Michelangelo Merisi da Caravaggio.

In this exhibition organized by the Astrup Fearnley Museum of Modern Art, Oslo, we have decided with the artist to concentrate on his paintings and to explore and present the multiplicity of his pictorial language and narrative structures as they have evolved over the last two decades.

Under his guidance she learned the pictorial language of cubism, while also absorbing a formalist method of analyzing pictorial structure and evolving a deep and abiding respect for the old and modern masters of the history of art.

He turned the structure of pictorial space on its ear and expanded the language of gesture by trading in the brushwork of Abstract Expressionism for decorative switchbacks drawn from the needle of an industrial sewing machine... The Shields avatar continues to influence the work of contemporary artists ranging from Jessica Stockholder to Jim Lambie to Lauren Luloff, and his aesthetic reach is one that crosses platforms, mediums and milieus.»

Speaking of her process, Serena says: «My work originates from an interest for handicrafts and as such, carried out in a patient and laborious way, it uses the sum of gestures that are repeated and prolonged through time in order to transform materials as simple as fabric and thread into large sculptural and pictorial objects that are structured in an organic and flexible way.

The pictorial space in these mesmerizing assemblages is comprised of clean geometric forms reminiscent of Constructivist experiments where light with its reflections and distortions acts as a foundation for the structure of the composition.

This is evident in the understanding of the buildings as undressed cubic volumes of geometry, descendants from sculptural minimalism; also, in the exploration of color and their application in visual rhythmic structures that invokes the legacy of the pictorial constructivist tradition, but from a clear awareness of the use of the camera as a working tool.

Even as Rothenberg's images have changed radically over the course of her career, certain tendencies critical to the compositional dynamics of her paintings have remained constant, reflecting how the artist sees and reconstructs the world through a series of shifting pictorial structures that create a spinning or torquing spatial scenario.

Yet it's obvious that no matter how richly inflected his touch may be, no matter how audacious his pictorial structures, Mr. Lüpertz also always responded to the crucial events of his working life: the construction of the Berlin Wall, the trial and execution of Adolf Eichmann, Germany's collective admission of culpability for the Holocaust, growing postwar prosperity, the actions of the Baader - Meinhof terrorist gang in the 1970s, the destruction of the Berlin Wall, the reunification of East and West Germany, and the rebuilding of shattered Berlin, among many other things.

This emotive «inner world,» described by fuzzy gestures, liquid washes and subtle patterns, hints at vague pictorial structuring, but Caivano is at her best when creating a fluid and shifting space held together by patches of color and paint, «pictures» that question their own premise.

Taking this pictorial structure as a starting point, Vasell has fashioned paintings that are made up of disparate elements collaged onto stained canvases.

The catalogue of the exhibition juxtaposes and interlaces twenty years of Torres - García's work with that of Vieira da Silva, balanced by the pictorial structure they both shared despite the thirty years separating them.

Film emerges as an organizing principle that constantly structures the narratives and pictorial range of his painting.

A mise - en - scène of images takes place through a new language whose structure is made up of cultural and emotional stratifications in a succession of linguistic and pictorial images, where the latter lose their original / residual formal specificity.

With an amusing heresy, he subverted the structures of pictorial space in order to elicit feelings of uncertainty and disorientation.

As a result they focused greater attention on matters of pictorial organisation, structure, composition and colour.

They cut into the shape structure more to become shapes in their own right, For me they are an affirmation of non objective colour painting that looks toward a new pictorial language and one which connects abstract painting to it's history.

The Belgian artists, including Mil Ceulemans, Joris Ghekiere, Bernard Gilbert, Marc Maet, Werner Mannaers, Xavier Noiret - Thomé, Bart Vandevijvere, and Jan Vanriet are a mixture of younger and older artists who all share an interest in deriving their pictorial structure from immersive painterly experience, and foregrounding such experience as inherent to their aesthetic doxa.

Strong shadows and the representation of a particular time and place suggest the distinctly American scene so memorialized by Hopper, while attention to flattened surface planes and a rectilinear pictorial structure reveals Diebenkorn's underlying tendency toward abstraction.

Noting her «complex, highly poetic pictorial compositions based on the structures and settings and shifting light» around «windows and doorways,» our late colleague Hilton Kramer rightly championed Dodd as among the «class of highly accomplished American painters whose work has been consistently rejected by the New York museum establishment.»

Ambiguous, erratic, deliberately disconcerting compositions and structures of meaning became the common denominator within a heterogeneous pictorial production.

Taking the conversion of infrastructure — oftentimes cold, invisible technical systems — into a kind of lauded aesthetics that penetrate power structures as the point of departure, the trio plunges into post-1950s Chinese audio - visual materials — from the archive of the propaganda pictorial Renmin Huabao, government recordings, to politicized pop music from the early 2000s and their music videos — to trace an aestheticized infrastructure's horizons and its ideological workings.

Joanne Mattera utilises a diagonally skewed grid as a structuring mechanism in her Chromatic Geometry series of paintings, enabling her to realise a set of diamonds intrinsically linked to the edges of the support, truncated by coloured triangles and held in a pictorial space by the addition of a central horizon line that divides the painting into two different coloured grounds before which the triangles appear to float.

There is a strong relationship to the structure of drawing and use of flattened pictorial space.

Serra's plates function as units of mass and structure much the way Kelly's monochrome panels serve as quotients of pictorial abstraction.

He turned the structure of pictorial space on its ear and expanded the language of gesture by trading in the brushwork of Abstract Expressionism for decorative switchbacks drawn from the needle of an industrial sewing machine.

While the exhibition at the Alexandre Gallery is hardy the Dodd retrospective we needed, it does have the great virtue of giving us a concentrated account of one of the artist's most inspired inventions: the complex, highly poetic pictorial compositions based on the structures and settings and shifting light to be seen in and around the windows and doorways of old Maine houses.

Zao's use of this calligraphic motif conflates the act of painting with the pictorial structure of the work, something he had in common with other postwar abstract painters, such as his American contemporary Franz Kline.

Boller's sensitivity to architectural structure allows him to draw and define the space with an expanse of color so that the whole interior becomes the pictorial ground, including the other works of art.