Sentences with phrase «painted shapes defined»

By the early 1960s Smith has developed his distinctive «Correspondence» series, which typically consist of two vibrantly - coloured painted shapes defined by a precise but often irregular contour.

Not exact matches

But I'd be a pretty big hypocrite if we continued to paint the picture of a Scary Mommy and not acknowledge the way this role has shaped — and even defined — the way we view Hillary Clinton.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

I've added more tonal value in the paint this time, so therefore you'll notice somewhat less pen work, as less is needed to emphasise darker values or define one shape against another.

In «Tempest» (1979) we see the balance of the sharp - edged paintings with poppy, bulbous, colorful shapes that would come to define her art making in the «80s.

He defines systems in his work as «a way of communicating an intelligible idea in terms of shapes colours and forms, or an organisation principle that I predetermine and allow to run to see what the outcomes will be...» In his painting here, Triangles within a Dodecagon, he takes the regular twelve sided shape as its starting place and bases an equilateral triangle between two of the vertices, or along one of the sides.

Reinhardt's early paintings of 1938 to 1940 consist of closed shapes — either organic or geometric — of saturated and contrasting hues which, even though flattened, exist on a clearly defined ground.

The paintings of Monique van Genderen are something to move into: spaces defined by shape, color, depth, and motion.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

He seems to have let painting and drawing develop simultaneously, and each defines and shapes the other.

Stella created icons, and his shapes define the painted grid.

Metz, a Brooklyn - based contemporary artist, echoes and reinvents the practice established by Louis, which is defined by saturated paint and amorphous shapes.

Stella's work was included in several important exhibitions that defined 1960s art [citation needed], among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1965) and Systemic Painting (1966).

Unexpected Portrait (2016) is a large - scale acrylic - on - canvas painting where a long tube - shaped orange line with dark edges glides across the work defining a cartoon - like head...

He had been working all of his life in a style he evolved as a young man which at the same time was changing the face of the art world: Abstract Expressionism (characterized briefly as a form of painting which emphasized gesture in an effort to define the flatness and realness of color and shape as a more integrated realization of the painted space).

Composed of arched stretchers, joined to irregular polygonal shapes, an interior shape was defined in precisely painted on raw canvas.

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

The heart shape provides a simple structure that defines the composition while allowing the freedom to fill the painting surface in a multitude of different ways and to try new creative approaches, just as Jim Dine has done.

The compositions in her current paintings continue to reference the layering and puzzling together of shapes that defined her collage practice, adding a new attention to materiality.

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

A.K. - People are defined by their movements, they're not defined by their shape, place - it changes all the time, so if you want to paint people you have to somehow incorporate the movement into your paintings, otherwise they look like mannequins.

The lines that define the wood forms blend impeccably with the lines of the paintings, as the two work together to create seamless and internally consistent planes and shapes.

His style can be defined as abstract painting in which there is no subject, only shapes and colors.

Throughout the 1960s and 70s, his work was included in a number of significant exhibitions that proved to define the art of the time, including Geometric Abstraction (Whitney Museum of American Art, New York, 1962), Toward a New Abstraction (The Jewish Museum, New York 1963), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), XXXII Venice Biennale (1966), Dokumenta 4 (1968), New York Painting and Sculpture 1940 - 70 (Metropolitan Museum of Art, New York, 1970), Structure of Color (Whitney Museum of American Art, New York, 1971).

Bringing together five of Bannard's seminal paintings from 1959 - 1962, the exhibition surveys the early portion of his career defined by single - image paintings with hard - edged geometric shapes and complex explorations of color and surface.

«Splotch» connotes a shape created haphazardly or spontaneously, and it is defined as «a daub, blot, or smear of something, typically a liquid» [1] as well as «a large spot or mark of dirt, paint.»

Stella's work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1964 — 65) and Systemic Painting (1966).

However, in his drawings, Moon deployed loosely defined forms with lines that are softened by the use of pastels, making them distinct from the more strictly geometric shapes and sharp edges that characterise his paintings.

A lot of Olitski's early, really atmospheric, disembodied color paintings had a wedge at the edge that would define the shape and size of the stretcher bar and its supports so there's no lying about space or anything.

As art historian Martica Sawin noted of Pace's art of this time, «The brush dragged across rough underpainting, the strategic drip, the brusque cancellation of any suggestion of latent image or defined shape, the look of struggle built into the layers of paint, the breaking apart of anything that might hint at order — these are all hallmarks of the work of the younger Abstract Expressionists.»

For Egan the results clearly identify a masterful handling of the paint that fuses the motion and drive of lyrical abstraction with overlaid and still forms and shapes of defined instances of paint that bring to mind Hans Hofmann, or the mosaic paintings of Jean Paul Riopelle.

With the decisiveness of a marksman, she trowels oil paint to existence, defining forms that are at times stubby vertical trunks or limber acrobatic shapes, but always exuberant impasto.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

Sharply defined and repeated geometric shapes were characteristic of his earliest painting, that were described by Goossen as depicting «yellowish pink and green dawns, blue noons, and red - orange sunsets that swiftly slide from purple to black», hypothesizing that Ohlson's experience growing up and working long days on the family's farm gave him a unique passion for color.

Reducing her formal vocabulary to its essential elements, Herrera started creating paintings in which boldly coloured, sharply defined geometric shapes predominated, and she exhibited this new work through the salon in 1949 — 52.

Her hard - edged, three - dimensional pieces are painted in uniform colors with such precision, and do not follow defined dimensions and shapes — only a unique style reminiscing of Mondrian's geometrical studies.

Clark's early paintings that were influenced by Piet Mondrian and Kazimir Malevich reveal her interest in the defining qualities of geometry's shapes and delineated spaces.

Together with his Aluminium (1960) and Copper Paintings (1960 - 1) and his shaped canvases of the early 1960s, the Black Paintings remain Stella's defining masterpieces.

Looking at painting always involves perception and interpretation, but Brierley's convoluted pictures seem defined by their capacity to trigger pareidolia, a psychological phenomenon whereby a viewer recognises shapes in abstract patterns.

Dever added the cross as a painting shape where he can maintain a defined outward trajectory with paint that allows him freedom to explore the color continuum, he said.

June Harwood (1933 — 2015) although not part of the first exhibition of work considered to be hard edge, Many of her early paintings consisted of shapes that were more or less rectangular, often in silver, gray and black, defined by crisp lines and edges.

His work focuses on how history, memory, and place shape and define communities, most recently in ambitious video installations that reference Baroque and Flemish painting.

His style was highly original; his landscape painting employs clearly defined areas of colour structured by abstract patterns and shapes.

A large boxed - shaped room painted pink on the outside and mint green on the interior, Pope.L's «Claim (Whitney Version)» is defined by a precise grid of more than 2,700 slices of bologna lining the walls inside and out.

Her work is also textural, defined by commanding shapes and unconventional combinations of media — oil paint with acrylic, pencil, or dirt, for example.

These variables can be used to give shapes a certain intention, direction, energy or personality, and I delight in the conflicts, contrasts and surprises that arise from the many parts of the painting, as if each shape strove to define itself in relationship with the the other parts of the painting.

Focusing on the shape and confines of the edge of the paper, he tapes off the same area on each work, defining the drawings with the same underlying framework — a similar affect of the previous figurative substructure within the paintings.

Subject, lines, shapes, and shades define my painting.

He began to draw and paint fragments — shadows on an open page, a curtain drawn back from a window — reducing the physical world to a few large shapes defined by strong color.