[xii] In a series from 1956, Thomas dispensed with thin paint, giving the picture plane solidity with more densely
painted architectonic forms locked in puzzle - like configurations, as in Highway II (1957), whose sage green, grays, and ultramarine blues are suggestive of the heaviness of the approach of dusk.
Not exact matches
The second series of
paintings focuses on color and consists of seven vertical canvases, each with a palette centered around a particular hue while bearing witness to the artist's melding of
architectonic composition and organic
form.
It's fascinating to see these
paintings in «the flesh» because you simultaneously take in the strong scaffolding structural design and
architectonic, reductive
form, explored with very fluid, sensitive brushwork.
By melding these diverse and humble sources with polyester resin as a binding agent, Mallary sought to reconcile structure, gesture and content, in ways not unlike his abstract expressionist forebearer Franz Kline, whose
paintings combined energetic brush work with
architectonic forms originally inspired by his surroundings.
The angular
forms of the figure in this drawing recall his portrait
paintings, and the vertical,
architectonic marks also reference his cityscapes and nonrepresentational abstractions.
Paintings that once represented
architectonic forms and alluded to optimism or idealism are no longer considered «advanced.»
Hung side by side, a lively conversation develops between photography and
painting, realism and abstraction, and together they make us more aware of
architectonic forms that surround us but that we rarely give our full attention.
Using industrial materials such as concrete and
painted steel, Low's works «investigate what might be seen as traditional sculptural or
architectonic concerns with
form, space, rhythm, tension, balance and the properties of materials».
Complex underlying structures caused the canvases to bulge or reach out along the wall or into the room; a sequence of 12, gradually changing
forms was based on the pages of a calendar from which successive pages had been torn; and finally, in work from 1972, the
architectonic quality of the
paintings was discarded in his Kite Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing thro
paintings was discarded in his Kite
Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing thro
Paintings, in which unstretched,
painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing through them.
They are reined in by
architectonic structures, broad fields of color are interrupted by smaller gestures and idiosyncratic
forms... his work has a palimpsest effect, where layers of previous activity bleed through the final layers of
paint.»
The rigorous symmetries of his colour
forms, which are invariably centered in a unified chromatic field, and the massive sense of space enclosure they convey, give Rothko's
paintings an extraordinary
architectonic power.
The standard square support and
architectonic form provide a heightened sense of rhythm in the
paintings as a series.
In the early 1960s, Bishop developed the vocabulary of color and
form that would characterize his
paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle
architectonic abstractions, and a consistently large, square format that reinforces the viewer's sense of scale and space.
His
painting from this time until the mid-1980s was to be characterised by high colour,
architectonic structures loosely based in geometric
forms, and a richly textured, painterly surface.