Sentences with phrase «on illusionistic»

His works, which depict scenes ranging from urban, rural, and wooded landscapes to artists» studios and lone figures in fishing boats, concentrate on the illusionistic properties of paint.

They neither function as windows on an illusionistic world, nor do they foster the absolute agreement of flat image and flat surface basic to, say, a Jasper Johns flag or target.

(It is worth noting that in 1967, around the same time that Plimack Mangold started doing the floor paintings, Al Held began working on his illusionistic black - and - white paintings, which have often been credited with, as Robert Storr recently put it in his catalogue essay, «muscl [ing] painting back into three dimensions without betraying its character as painting or his own long - standing commitment to the primacy of gesture.»

The optically titillating large - scale paintings are made by applying layers of acrylic paint to a canvas in a pre-determined order, resulting in heavily - built surfaces that take on illusionistic depth as the tone scale varies.

If it's done well, like in the work of [Francisco de] Zurbaran or [Jean Baptiste Siméon] Chardin, then the painting is also working on this illusionistic level that is almost sinister in its awareness of you.

Not exact matches

Although he was primarily focused on demonstrating the relativity of color, Albers also studied how composition and linear design could render his works both illusionistic and enigmatic.

These pictures read as both abstractions — dots on a flat canvas, and deep illusionistic paintings of the night sky.

The exhibition title is a play on two simultaneous traditions: the modernist charge to flatten illusionistic space and the «flat top» hair cut popularized during the Def Jam era of hip hop.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

The method is also described as illusionistic, since creators were making drawings based on the representational form that was suggesting itself.

Each piece traverses a terrain that is both physically present and illusionistic, a smeared dichotomous zone, which Iva Gueorguieva has explored extensively in her collaged paintings and works on paper.

On view in PC — G's Reilly Gallery, this group exhibition consists of illusionistic compositions — rendered somewhere between meticulous staging techniques, analog processes and digital alterations — manipulate perceptions of space and reality to create photographs that appear as abstract paintings.

Composed of a single horse bone mounted on a walnut pedestal in front of an illusionistic graphic depiction of a similar

Working in stainless steel, glass, copper, stone or paint on plaster, he employs subtle illusionistic devices, instigating a play of depth that remains consistent from piece to piece.

Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella's rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

At that time, illusionistic abstract works appeared on the walls of major museums and galleries around the world.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

In approaching The Arcades Project (Harvard University Press) for the first time in earnest I explored Benjamin's use of «phantasmagoria,» traced it back through letters with Adorno, to Marx, to the 17th - century illusionistic «theatre of phantasmagoria,» and developed an essay about illusions created on social media for a journal tasked with addressing the rise of authoritarian populism around the globe.

Her collaged paintings, works on paper, and sculptures traverse a terrain that is both physically present and illusionistic.

Martin Weinstein (NYC) creates paintings on 3 - 5 sheets of plexiglass layered together to form an image of illusionistic depth; he interprets this special theatre by depicting the same scene multiple times, and by inserting discontinuous elements... a reminder of the tenuous nature of reality itself.

Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer into the depths of illusionistic space.

To address the space of the house, the exhibition features a house installation by Swiss artist Urs Fischer that recreates the artist's New York apartment on a 1:1 scale, replicating the interior walls through three - dimensional illusionistic wallpaper.

Painting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, material space.

Interested in the spatial dimension of paint, Grosse wields a spray gun rather than a paintbrush, creating abstract and illusionistic layers of color and texture on unconventional surfaces.

Each of these paintings appears as a suspended four - paned window, literalizing the illusionistic «window on the world» offered by traditional, representational painting.

A 1958 exhibition of Jackson Pollock's work at Whitechapel Gallery had a major impact on the young artist, but it wasn't until the early 1960s that Riley began to develop her signature Op Art style consisting of black and white illusionistic patterns.

These are sometimes almost illusionistic within the abstract context she sets up; for example, when painted areas mimic how light falls on the actual velvet in the piece.

Ferguson's paintings are comprised of built - up troweled layers of plaster with uneven surfaces, repeated patterns and illusionistic depth that suggest something representational yet actually derived from geometric variations created on her computer.

The artist transforms the museum lobby into an all - consuming invasion of eggs; thousands of illusionistic, hand - made sculptures of sunny - side - up, fried eggs are suspended on the walls, dripping to the corner and floor, and even found in unexpected places like the museum's front desk and staircase.

She has written of her interest in «reconciling figurative representation and the formal concerns of creating illusionistic images on a flat surface.»

Tracing the archaeology of the paintings in the sculptural formations that accrue on their edges creates a dynamic contrast between the illusionistic interior spaces opened up within the compositions and the frank materiality of the gesso boards as objects hanging on the wall.

Moving back and forth between abstraction and figuration, he has depicted geometrical forms including dots, lines, triangles, square and ellipses, and rhythms of fresh and vivid colors on the pictorial plane, and has created unique, illusionistic worlds of painting wherein each motif influences and merges into each other while preserving a descriptive quality.

One of the constant themes in Heft's work is movement — illusionistic or physical, on 2D or 3D environment.

While Lawrence employed photography and illusionistic devices in his constructions, Gauthier incorporates photographic enlargements of installations in her mixed - media works, combining these images with encaustic and graphite on wood.

In creating the drawings, Voigt first maps the movements of her entire body, and then translates her full - body experience into a symbolic language of illusionistic organic shapes that float on a flat background.

Their uneven surfaces and repeated patterns hint at illusionistic depth and suggest something representational, but in fact their forms are based on geometric variations the artist creates on her computer.

Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually abstract and the illusionistic depiction of real space created by the action of light on film.

By deconstructing the figure into fragments on two two - dimensional plans, Amy pleasant makes abstract portraits that become illusionistic when seen from different angles.

His 1961 work Tea Painting in an Illusionistic Style transposes a nude on to a box of the tea.

Ever since his softly overpainted Views of Corsica series of 1968 - 69, the artist has revisited and reprised its possibilities, creating black - and - white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting.

After sustained viewing, Concentric Square takes on a mesmerizingly illusionistic effect that evokes the work of Op Artists like Bridget Riley, who worked contemporaneously with Stella.

In post-World War II America, however, the primacy of abstract art was clearly acknowledged, and by 1961, when Norman Rockwell painted The Connoisseur — his visual treatise on the subject juxtaposing Jackson Pollock's nonrepresentational art with his own illusionistic imagery — Abstract Expressionism had been covered in the popular press for nearly fifteen years.

His illusionistic drawings were often created on found ledgers and used oblique projection.

Reducing this analysis to a specific painting problem, Lucas explores the issue of spacial illusions through the paradox of illusionistic reproduction on a flat surface.

There's a lot of illusionistic trompe - l'oeil elements, and then there's always some kind of grid structure that's holding them together, that all these elements are hung on.

How do you keep the painted relationships in an abstract painting JUST spatial / pictorial — neither depictive, descriptive, suggestive of illusionistic, figurative, atmospheric space; nor literal, one layer on top of another (even though they are), or flatly adjacent?