Sentences with phrase «of pictorial surfaces»

In these works, detailed patterns and boldly colored landscapes comingle with an array of figures in an interplay of pictorial surfaces.

Loosening the boundaries of the pictorial surface by introducing relief into his art, Stella eventually moved into three - dimensional sculpture and architecture.

As in a natural symbiosis, the constantly changing appearance of the pictorial surface lends her works an air of infinity and timelessness; they are never static.

Combined with his interest in American abstract painting this research lead him in the 70s to make a series of particularly ambitious paintings, not only by their unusual format in France at the time (two by three meters, two by six meters), but also by the almost total withdrawal of the gesture of the artist, an indirect inscription of the pictorial surface, a minimalistic and radical process that influenced, among others, Martin Barré.

His encounter with Abstract Expressionism in New York in the 1960s enhanced the flatness of his pictorial surface.

Drips, gestures, and splatters of paint in his work have led many critics to identify him as a second - generation Abstract Expressionist, but Francis has also been compared to Color Field artists on the basis of large, fluid sections of paint that seem to extend beyond the confines of the pictorial surface.

Not exact matches

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 truth.

Surface Tension: Pictorial Space in 20th - Century Art traces this transformation, from early modernist works influenced by Cubism through the age of Abstract Expressionism.

In the late 1930s, in a series of widely attended lectures in Greenwich Village, Hofmann demonstrated how to «push a plane in the surface or to pull it from the surface» to create pictorial space.

Intermittently bright and gloomy, his paintings are characterized by unconventional grade of the constant concentration of pure pictorial elements, as color, surface, proportion, and scale followed by the theories that they could reveal the presence of the philosophical thoughts.

Surface Truths: Abstract Painting in the Sixties considers the work of 17 artists and the directions they pursued as they moved away from an aesthetic that supported a self - evident creative process to an aesthetic seeking to expunge gesture, pictorial depth and illusion.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

Ian and Mary, 1971, by the late American painter Alice Neel, is one of a handful of images in the exhibition painted directly from life, yet in her spare, urgent paintings Neel, who famously stated «I don't do realism» always alerts us to pictorial shifts and disjunctions that trigger psychological readings beyond the painted surface.

The encounter between geographies, disciplines and histories at the core of Meppayil's work prompts what Benjamin H.D. Buchloh identifies as «a latent desire to leave behind the parameters of pictorial space and its supporting surfaces, reaching for an ultimate sublation of the painterly rectangle in a numinous architectural space.»

The artist's flawlessly rendered surfaces; use of stark lighting and awkward compression of pictorial space heightens the detachment of his subjects from lived experience and, as some writers have acknowledged, offers a reading of his work as a form of abstraction.

Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space.

While Pistoletto has typically relied on the mirror's reflective surface to seamlessly integrate pictorial space with the physical space of the viewer, the Scaffali paintings appear to complicate this relationship.

Like in Medieval tapestries, where there is tension between the pictorial depth and the flatness of the woven surfaces, my paintings hover in a similar duality.

The black textured surface of G1 Magnetic Wave Shield, 2016 obscures expectation and allows us to fill in the dense pictorial plane.

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

In contrast to the traditional verticality of the renaissance picture plane, which is dependent on head - to - toe correspondence with the viewer, with his combines Rauschenberg introduced the «flat - bed» plane and in doing so completely reoriented the pictorial surface so that it was no longer representative of a world space, but an analogue of operational processes.

While hinting at pictorial space, she looks for ways to erode the hierarchy of supports, surface, and picture plane by using all components to create an image.

The vegetation at the bottom left of the panel is a marvel of meticulous execution; the triangular snippet of orange drapery revealed amongst Mary's blue and red garments reveals an astute and not unwitty pictorial technician; the hands of the Virgin, scaled larger than the rest of the figure and floating all - but - imperceptibly above the surface of the canvas, have the durability of carved marble and the tenderness of living flesh.

The root of the word «habitat» means to possess, or to be situated, echoing the viewer's process of negotiating the relationship between the pictorial space and the physicality of the artwork's surface.

Alongside the recent developments in the artist's material choices, Ofili has remained faithful to a pictorial style that relies on a conscious flattening of the picture plane, carefully layered surfaces, and diverse, history - spanning sources of inspiration.

The artists represented in this exhibition wish to restore tactility to painting, to redefine drawing as part of the pictorial and to go beyond Postmodernism to retrieve the fullness of painting as major art, including its tactility, explicitly material surface and capacity for metaphor as well its purpose to fulfil what Henri Bergson defined as its principle function: to be «life enhancing» in its vitality.

Her paintings and drawings are complex meditations on pictorial surfaces, the multivalent layering of images, and societal constructions of gender.

The great naturalist and realist, according to Stella's analysis, freed pictorial space from its former subservience to architecture and sculpture, making it «capable of dissolving its own perimeter and surface plane.»

As he turned the image of the figure around in his mind, considering it from every angle, «it was touch,» Shiff explains, «that guided his contact with the pictorial surface.»

What is at stake in this work is not so much representing a figure and giving it flesh, but the staging of an image's life — as if the image was taking revenge upon the portrait and pushing its way to the surface of the canvas, with the help of curtains and shadows, pictorial marks and brushwork.

Not only did pictorial references — works featuring installation views of a James Coleman slide show, an X-ray previously exhibited by Isa Genzken of the German artist's own skull — to this subject abound, but the near holographic quality of Quaytman's surfaces rendered these images as if projected.

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.

Stingel's ironic attempts to codify his own methodology in his Instructions is certainly redolent of Warhol's aspirations towards formalized factory - style reproduction; yet, in Untitled, the unique formations, rivulets and conglomerations of paint re-inscribe a sense of the lyrical upon the pictorial surface.

His grids of precariously constructed, jostling geometric forms seem to float and shift across the pictorial surface.

This play with space, surface, and perception is typical of Scheibitz's pictorial language.

The continuous interest in intense relations between pictorial elements, the very perception of a painterly surface, color and forms, suggest the artist's desire to explore different layers of meanings and emotions.

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

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.

«This bicoastal photographer,» a San Francisco Chronicle reviewer wrote, «has taken a pictorial cliché, reflections on the surfaces of bodies of water, and turned it into a means of generating compositions that echo classics of Surrealist and abstract painting.»

The press release states that Pedersen «was among other things a leading figure in the European artist group Cobra, and whose hallmark was a boundless imagination and an inexhaustible joy in creation... Besides the artist's well known pictorial universe, ARKEN's exhibition also demonstrates the variety of Carl - Henning Pedersen's art: war pictures typified by wildness and horror, the eruption of energy in the Cobra years, and later examples of a more texturally oriented surface painting.

I allow the paint to bleed, smudge, peel back at times, which disrupts the illusory or pictorial space, emphasizing the materials and surface instead... the way in which I construct illusions of depth and space, where certain patterns seem to float in front of others, screens of lines that you are looking through, into another internal space.

Gain the confidence to explore the use of color, mark making, surface quality and composition, emphasizing your own pictorial language.

This is why the works of that period project an aura of inwardness, as the «life lines» and ever more shredded fragments of what were once recognizable protagonists do battle with the pictorial forces of darkness, scorched radiance, claustrophobic surfaces, and voids figured as mostly imploding fields.

Informed by new materials and technologies, Mack's aim was to abandon the traditional idea of pictorial space, and instead focus solely on an overall surface with the effects of light, reflection and motion.

Throughout the history of painting, the rectangular surface has been likened to a window, and the pictorial plane, an imaginary world.

Washburn continues her exploration of the interface of material and digital surfaces as well as the persistent relevance of human touch in the construction of pictorial space.

The 1985 Turner Prize winner's paintings are often referred to as «pictorial objects,» and in two of the most experimental pieces — and the largest here, at nearly 7 by 9 feet each — he lets the bare wood surfaces predominate.

They influenced a specific formal component of Abstract Expressionism, the «allover» composition, which disperses pictorial incident evenly across the picture surface.

Repeated visits did not dull my ardor for the play between the Romanticist's spectral landscapes and the delicate compactness of the Bauhaus master's dense pictorial surfaces.

A founding member of the Brazilian Neo-Concrete movement, Clark proposed a radical approach to thinking about painting by treating its pictorial surface as if it were a three - dimensional architectural space.