Sentences with phrase «paint in rectangles»

Not exact matches

In another letter, Pauli drew a rectangle on the page, and next to it he wrote: «This is to show the world that I can paint like Titian.

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Might you like to take some shots of rectangular paintings to put in an on the net gallery, but fear they'll come out resembling parallellograms instead of rectangles?

Might you like to take some shots of rectangular paintings to put in an on the web gallery, but fear they'll come out resembling parallellograms instead of rectangles?

Would you like to take some shots of rectangular paintings to put in an on the internet gallery, but fear they'll come out resembling parallellograms instead of rectangles?

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In the most minimal examples, we are presented with a singular aperture, which, taken out of context and scale, also suggests an eye socket — as though to imply that one must even look through the eye, and that all these painted rectangles are re-constituted and shifted from ovular visions.

In 1968, Polke painted a crude sketch of the hare, along with Dürer's monogram, onto a rectangle of commercially printed fabric.

In «Titanic Orange Sea» (2012), Bradford does something counterintuitive and inexplicable; she makes the sea a thickly painted orange rectangle with a diffuse stroke of white paint spanning both the top and bottom, turning the painting into a monochromatic abstraction on which both a ship and iceberg (an unavoidable collision and disaster) sit.

In 1968 he made a series of colorful sprayed atmospheres across which he painted floating multi-colored bars and rectangles.

The isolated rectangles featured in these paintings develop into irregular diamonds, rhomboids and triangles in the works of 1978 to «82, as Hoyland found himself increasingly drawn to the «dynamic of the diagonal».

Terre verte also figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the painting.

It was a predominantly red abstract with a rectangle of acid green at the bottom, painted in 1964.

Two painted rectangles hang on the wall, but in one a succession of angled wood fragments suggests a magnetic field.

David Ryan's Set 2 (c) also seems to have some doubling going on, this time within the one painting, in the repetition of rectangles that occupy different spaces, one in lime green, one in yellow ochre and one in white, as well as the containing rectangle of the support.

Meanwhile, the voidlike burgundy circle, traced in royal blue, nearly resembles a rectangle with a convex side (it's that huge) except for two tiny white corners on the painting's extreme left, forcing the circular shape to retain its Euclidean stability.

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

It is miraculous, for instance, to see the infinite number of variations that are sprouting from just simply painting rectangles and lines on a surface, from constructing a surface onto which to paint, from placing a hand - painted something in a specific place it sensibly interacts with.

In 1966, artist Gerhard Richter began painting simple, uniform grids of colored rectangles or squares...

Pollock's energetic «action paintings», with their «busy» feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract).

In 1933, inspired by what he had seen in Europe, Shaw began to develop his «plastic polygon» paintings, in which he would divide a polygon form into a broken pattern of rectangleIn 1933, inspired by what he had seen in Europe, Shaw began to develop his «plastic polygon» paintings, in which he would divide a polygon form into a broken pattern of rectanglein Europe, Shaw began to develop his «plastic polygon» paintings, in which he would divide a polygon form into a broken pattern of rectanglein which he would divide a polygon form into a broken pattern of rectangles.

Each canvas forms a moving tessellation: in Air Mail, handkerchiefs and scraps of pants form a grid of rectangles, over which Gordon paints a tunnel of air mail envelope borders.

In one painting — all of them are untitled — it is a series of rectangles scuttling through a tube; in another, curving green stripes lace through a torsolike forIn one painting — all of them are untitled — it is a series of rectangles scuttling through a tube; in another, curving green stripes lace through a torsolike forin another, curving green stripes lace through a torsolike form.

Reinhardt had been a great admirer of Mondrian, who had emigrated to New York in 1939, and had established his studio as a de Stijl - type installation — a three dimensional environment based on the geometric paintings in which he used rectangles of red, yellow, and blue as hues, with white and black in opposition.

«I became fascinated and found in the geometry of a rectangle, a new starting point for composing a painting,» Tworkov wrote.

Reinhardt, in turn, takes the rectangle as the basic element of painting in order to condense the chroma, or the apparent saturation of the colors, to the utmost.

Other highlights in the booth included a diptych from Elmgreen & Dragset «Lowered Goals» that comprises a basketball backboard paired with an identical rectangle - within - a-rectangle sans hoop, which looks just like a hard - edged abstract painting.

In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chipIn 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chipin a chart configuration against a white background, inspired by industrially produced paint chips.

(«Hopper bets everything on composition, which, in his work, is almost as tautly considered as in a Mondrian,» Schjeldahl wrote in his 2007 review, in which he also advised viewers to sketch Hopper's paintings in order to better grasp them: «Just get the main shapes, including those of empty space, and how they nest together in the pictorial rectangle.»)

Greenberg championed the work of Mark Rothko, who painted sublime compositions of soft - edged rectangles in harmonious combinations of color.

It is also his liveliest, rambunctious in its aggressive use of high - keyed color and the stacking of his characteristic ribbons of paint into dominant rectangles.

In this work Betty has investigated the strategies of hierarchy in Roman painting, a world of squares within rectangles, borders and friezes that yield paintings within paintingIn this work Betty has investigated the strategies of hierarchy in Roman painting, a world of squares within rectangles, borders and friezes that yield paintings within paintingin Roman painting, a world of squares within rectangles, borders and friezes that yield paintings within paintings.

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

Hofmann made works of astonishing variety, crossing the boundaries between allusion and invention, reference and abstraction, in paintings ranging from the broadly invoked interiors, still lifes, and landscapes of his first American years, to eerie surrealizing «creatures,» minimal geometric abstractions, and finally, the bold confrontations of pulsating rectangles of thick paint — the acclaimed «Slabs» — and the orchestrations of free - floating, varied painterly gestures that characterized his last years.

Using geometric forms found in traditional Plains First Nations beadwork and hide painting (see Indigenous Art), this consummate colourist created largely symmetrical works consisting of interlocking arrows, triangles and rectangles.

In 1933, influenced by Cubism and other forms of European modernism, Shaw began to develop his «plastic polygon» paintings, featuring a polygon form that he divided into a broken pattern of rectangles.

For his current exhibition, he constructed layered space in his paintings by arranging different - sized, monochromatic rectangles atop of each other.

He rose to critical acclaim in the 1970s for his meditative, two - colour paintings, which set one rectangle within a frame of a darker shade.

Subject-wise, it goes from charming animals, including a horse that barely fits inside the painting's rectangle and a friendly - looking monkey, to text - based works, which include a sketch of a sailboat done by the artist's grandfather, and a drawing and story written by her middle - school - aged son when he was bored, arranged across five freestanding panels and only readable when the viewer stands in the right place.

Other paintings, such «The Painter in Her Studio» (2014), come across as if there were a painting by Peter Halley or Burgoyne Diller emerging from behind Winkfield's large, dominant rectangles.

This may be observed in Ohm Home, as two rectangles kiss on the square painting support, creating an offspring of isosceles triangles.

Before even entering the gallery, the viewer encounters sky blue rectangles of paint on the curb in front of Para / Site and on the space's goldenrod - yellow and black facade, painted by Costa Rican artist Federico Herrero.

Rectangles of unglazed porcelain upended and attached to the wall become blank scrolls, perfectly new, waiting for words in the Buddhist works of Liu Janhua; and quite possibly invoking the memory of all the white abstract paintings seen in an earlier gallery.

The booklet, subtitled ’10 Planches en Couleurs» presents ten horizontal rectangles of thin coloured paper, each glued onto a page, each pretending to be tipped - in reproductions of an actual paintings, but in reality being a found off - cuts of a commercial coloured paper.

In the adjacent eaves the room is part sectioned - off by a wire mesh, a white rectangle of fabric creates a quick - fix wall divide, and inside this is a salon of small paintings by Real Positive.

Like Frankenthaler, John Hoyland is a painter concerned with the impact of simple masses of colour, but it is hard to imagine anything more different from Frankenthaler's blotted, loose forms than the hard, heavy rectangles in Hoyland's recent paintings at the Waddington Galleries, 2 Cork Street.

Precisely painted squares and rectangles in orange, rust red, green, mauve and white dance, overlap and swirl on a washed grey - mauve ground in this intimate 24 inches square acrylic...

Richard Pousette - Dart's «Eye of the Circle» (1975 - 6), a contemplative white painting with a faint central image of a circle in a rectangle, dominates one wall of a hushed, chapel - like room (with Gregorian chant, yet, playing softly in the background).

In what one may call the painting's melodic «theme,» this form is in turn echoed and inverted in its adjacent «variations,» three regions that, in an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectanglIn what one may call the painting's melodic «theme,» this form is in turn echoed and inverted in its adjacent «variations,» three regions that, in an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectanglin turn echoed and inverted in its adjacent «variations,» three regions that, in an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectanglin its adjacent «variations,» three regions that, in an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectanglin an aggressive improvisation on the structural unity of the central organizing principle of the canvas, respectively reveal more (or less) actual newsprint than the central black rectangle.

In Schwarz, Rot, Gold (1999), Gerhard Richter (b. 1932) abolishes form in favour of blank, reflective spaces; black, red and gold rectangles — recalling the German flag — become relational to the painting's environmenIn Schwarz, Rot, Gold (1999), Gerhard Richter (b. 1932) abolishes form in favour of blank, reflective spaces; black, red and gold rectangles — recalling the German flag — become relational to the painting's environmenin favour of blank, reflective spaces; black, red and gold rectangles — recalling the German flag — become relational to the painting's environment.