Sentences with phrase «painterly surface of»

Working the garden with a shovel, «[an] object made by anonymous hands», becomes intimate as you move the soil with the painterly surface of Jim Dine's Shovel, 1975.

The tension between the material and the painterly surface of each work is key.

Not exact matches

The painting is an example of Phelan's early work which sought to reconcile painterly abstraction with process based minimalism, but in this context the cut surface feels more desperate, as if the painter were punching a hole through which to breathe.

Yet these works deny their painterly roots, sitting flat on the surface of the stretched cotton as if the result of a print process rather than from the hand of the artist.

The German artist, who famously uses a spraygun to extend her painterly gesture to an architectural scale, has included three trees — roots and all — atop an uneven surface of canvas and dirt to blur the distinction between museum and park.

His expression is personal — visceral exchanges between memory and its hues, between emotion and the logistics of its use, between logic's place in the fog of the human heart, and the ways that rationale can be envisioned as painterly «surface.»

Blending abstraction and figuration — common in today's painterly practices — each canvas displays a recurring combination of saturated colors, loose gestural marks, and patterned surfaces.

This frame creates a nice distraction from the painterly marks of the thick paint as well as a contrast of surface texture between matte and luminous paint.

In that period I was beginning to consider painting with oil and both Jensen's scraped, palette knifed surfaces and the surfaces of Hartley's late works, painterly and sculptural also, even when relatively thin, were both helpful mentors in my transition to this difficult rich medium.

[30][31][32] The late 1960s saw painters turning to surface inflection, deep space depiction, and painterly touch and paint handling merging with the language of color.

In many of his paintings there is a dichotomy of tight geometric formats and rich colors painted on expressive painterly surfaces.

Not the exacting precision of later minimalism — a designation Stella always hated, and would flamboyantly rebel against soon enough — but a more irregular, more painterly surface.

Motherwell's style of abstract expressionism, characterized by loose opened fields of painterly surfaces accompanied by loosely drawn and measured lines and shapes, was influenced by both Joan Miró and by Henri Matisse.

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.»

Through full - screen, deep - zoom capabilities, the Online Collection offers close examination of Still's art at a scale that reveals detailed surfaces and clear evidence of his painterly gestures.

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

Installations like these shun the painterly surfaces and pop - culture allusions of James Rosenquist or Robert Rauschenberg in his combine paintings.

The quiet restraint of these works is like a gentle exhale of breath between bursts of painterly energy and reveals how the phrase «Surface Work» can be mean very different things to different people.

In Chelsea, Smith reworks hues like «Pepto Pink» and «Bondo Red» into gestural painterly expressions: up close, the potentially clinical study reveals the wild hand of the painter, and you can clearly see the creamy brushstrokes that compose the colorful surfaces.

There are pictures of faces where his painterly interventions are almost abstract sculptural rendering of the skin, bone and muscle being torn away from the surface as if in a dismemberment.

The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

Marden and others almost fetishize painterly materials, as they explore the illusion of depth that a subtle, almost neutral surface will convey.

These works, in monumental size and scale, engulf viewers with their expansive, painterly surfaces that depict moments of intense observation in the landscape — what Katz describes as «flashes» of perception or «quick things passing.»

They combine a self - conscious catalog of brushwork and painterly scales, a palpable surface, and, at a distance, a sudden burst of color.

With its vibrant palette of warm golden colors and a surface infused with painterly passion, Joan Mitchell's luxurious canvas, Blueberry, belongs to a group of significant works which demonstrate the artist's unrivaled skill at producing paintings which evoke the rich emotions of nature and landscape.

Frankenthaler, Louis and Noland formed the core of a group known as the colour field painters, though the critic Clement Greenberg preferred one of his own clunking coinages, «post-painterly abstractionists», meaning that after the «painterly» surfaces of the abstract expressionists, the purely colour - based paintings of Noland and the others marked out a different and more advanced stage of art's march to absolute abstraction.

Postmodernism deprived painting of originality and first - hand experience at the same time that Greenberg's disembodied abstraction, addressed to eyesight alone, collided with the desire on the part of some artists to retain the wholeness of the aesthetic experience made available by the old masters in their fusion of the haptic quality of sensuous painterly surfaces with the optical melding of colour and light.

Instead, his art is at once graphic and painterly, decorative yet deep, sensuous and — in the vast expanses of untouched surface — austere.

By tenderly examining the surfaces of their works, one can reconstruct the painterly decisions, additions, revisions, and erasures that lead to the finished image and thereby reconstruct the narrative by which the artists fall in love with their own work.

For Joe Goode, these nearly metaphysical, black paintings also contain violent slashes through the canvas that brings attention to the surface of the painting while adding a sense of painterly depth as the shadow cast behind the canvas becomes blacker than the painting itself.

From afar, Untitled appears like a trompe l'oeil; however, upon closer consideration, the photographic realism dissolves into a painterly abstraction composed from a meticulous system of thick, accrued brushstrokes that endow the surface with a textured physicality.

Often the surface is shared up with a blade or stylus, invoking a series of mannered provocations between painterly elements.

The final shape is the result of a complex painterly process that aims to bring surface proportions, color distributions and surface quality in line with the motif.

Sanditz's expressionistic depictions of these sites yield surfaces that are a clash of painterly styles, disparate qualities of pigment, brilliant colors and dark subject matter.

I am interested in exploring the surface qualities created by the fibers and utilizing the characteristics of the fabrics to create a painterly effect.

Remainders and markings of Lewis» physical practice continue to accumulate onto his surfaces until the moment of their installation, rendering his painterly objects as repositories of their own history.

Within a dominant white, some of which is the ground itself, color is dispersed through vignettes of painterly overlaps that draw the viewer close to the surface.

Instead of a direct translation from tablet screen to paper surface, Fischer's process imbues the digital image with an analog tactility; in some places, his painterly gestures loosen, revealing patches of the shiny aluminum beneath.

Varying in scenery and painting techniques, the first were loose painterly exploration of aerial photographs of cities and townscapes, then mountain landscapes and park scenes with their hard - edge textured paint surfaces.

Not only do the ribbons of paper that activate the work's surface create the illusion of a range of color values, there are other unexpected painterly effects to perceive.

A Nashville resident whose work has been exhibited and collected internationally, Jack Spencer alters the surfaces of his photographs with techniques suggestive of painting — rich tones and colors, softly - focused or veiled forms, slight imperfections and painterly textures.

As Reiner Zittl has written, «Stingel may be categorized in the group of artists who passionately pursue painterly effects that for the most part appear almost autonomously on the picture's surface.

Rosen's work explores the fundamental properties of ceramics by directly confronting the aesthetic and chemical relationships between sculptural form and painterly surface.

In her lavish and painterly works Homer strews fields of flowers across surfaces rich with incident and creamy impasto.

Tuanus (2000) has the scale of a history painting, the painterly gestures, blobs, patches and scrapes of impressionism, expressionism and American abstract expressionism and the graphic effects of screenprinting and technicolour — a sumptuous surface that belies the work's apparent subject: a drugs raid in central Frankfurt.

Perhaps it's something like Pensato's paintings — animal and «human» personages anthropomorphized into the barest semblances of themselves, erased (to use Pensato's own language), and re-represented, brutally, in the grammar of «high» art, with the painterly strokes and complex surfaces of abstract expressionism.

Rauschenberg's Bed, 1955, was an entirely new species of art, fusing a flat painterly surface with a 3 - dimensional object.

The large glossy surfaces are scattered with drips, leaks, cracks, discolorations and folds which are subtle traces of the parallel and unpoetic painterly reality of the materials Rhodes employs.

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.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.