Sentences with phrase «painting magical space»

In this essay, Alex Bacon explores the links between Lorser Feitelson's 1962 oil and enamel painting Magical Space Forms and Alois Kronschlaeger's and Elise Ferguson's contemporary hard - edge abstract works.

Not exact matches

His paintings are so appealing at first sight, as delightful coloured patterns with pleasing figurative imagery, that many look no longer, or see no further, and for them the magical metamorphosis does not take place; they do not find that they are standing on a little terrace under a walnut tree looking through an overgrown garden straight towards the afternoon sun which is sparkling on the Seine below them, and all looking not as it would to them, but more mysterious, more overpowering, fuller of space and light and colour and overwhelmingly real and harmonious.
It is very human to seek an open space, a place to think and reflect; Daniel finds this magical space in his paintings, making them very compelling as we meditate on the vastness of nature.
The caption reads: «The eye - catching abstract painting by David Palmer in the informal eating area reflects off the mirror - like black granite countertop in the adjoining kitchen...» Installed in an historic, stately, century - old Back Bay Brownstone, David's bold, undulating, swooping and knotting single stroke painting over a pristine white ground gives the space a magical sense of life.
It's the artifice of the paintings, their magical light and compression of space, that recall us to the everyday world and the human comforts of Thiebaud's more familiar works.
Gueorguieva discusses the essential nature of studio time and the important, magical nature of the painting process: «A lot of what I do has to do with a way of thinking about space and time.
In other colorful booth news, São Paulo - based Ricardo Camargo's vivid mustard space showed work and artifacts (a coffee table, an easel, a desk topped with paints and brushes) from the studio of Wesley Duke Lee, a Brazilian artist who founded the Magical Realist movement in the 1960s.
Dr Maria Balshaw, Director of the Whitworth and Manchester Art Gallery said: «Raqib Shaw's magical paintings offer a highly complex, absorbing semi-autobiographical space to think through both image and issues of identity.
I came into the MFA Program as a painter but not really understanding what painting is (this was the time of BFAs in self - exploration) and found myself in a space of magical thinking where I assumed, now that I was in the same program that graduated the likes of Chuck Close and Brice Marden, I would suddenly be able to paint anything I wanted.
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