Sentences with phrase «painting against the color»

In them one sees her pitting the all - over gestural approach of Tenth Street painting against the color and light of Matisse - or is it the other way around?

Not exact matches

The blue paint's chemical composition might be a good defense against termites, the color keeps dwellings cool in the blazing sun, and the vivid color is downright beautiful.

In our reaction against the decadent pietism of the recent past, we falsely prided ourselves on our willingness to accept life as it is, realistically, in all its ambiguity, not painting it in more glowing colors.

More granite and custom paint colors follow you into the spa like bathrooms; sink deep into a bubble bath and soak away the aches of your full days spent sightseeing in our beautiful city and then wrap yourself in the fluffy white beach towels that feel soft and gentle against your skin.

When the children first viewed a Van Gogh painting, they focused on bold, bright colors and attention - grabbing objects: A striped house, vivid roses, dark trees painted against a light skyline.

I think going this route is most effective when your book case is painted a bold color, then the white / ivory pages pop against the color.

Co chose to present its»40s - inspired Fall»17 collection against a backdrop of Yelena Yemchuk's nude paintings - they complemented the earthy colors perfectly.

You can see here where the Iron Ore paint color is a beautiful contrast against the bright colors in the blooms in the vase here at Vintage Revivals:

And here you can see all sorts of beautiful pops of color against the Iron Ore paint color as a backdrop.

This simple round brass trimmed mirror from Target costs pennies and looks lovely against the Pratt & Lambert's Essex Deep Green 20 - 17 paint color.

Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).

The characters, painted in bold colors, are set against backdrops of more natural hues.

In the painting, Graham is seated on a tan - colored sofa against a grey - colored wall.

In the painting, Ylvisaker is depicted seated in a wooden arm chair against a neutral - colored background.

This was strongly against Cubism which reduced the role of color in the painting.

Light, tiled flooring and native wood furnishings contrast against the vibrant tropical colors of upholstered cushions, paintings and fresh flowers.

Tucson - based artist Kyle Kulakowski specializes in video game - inspired black velvet paintings, a medium that uses black velvet in place of canvas, allowing vibrant colors to pop out more against the dark background.

She turns up the retinal volume again and again in the grounds of her paintings — vast seas of cerulean blue edged by crisp white lines, or enveloping acts of domestic violence; equally riveting cadmium reds, oranges, and crimsons saturating the picture plane beneath angry gorillas, dancing Chubby Checkers, and kissing lovers; Day - Glo yellows that push up against sharp blacks as «bad guys» in black suits point guns and walk up and down staircases — and employs unusual compositional strategies to draw our attention to these expanses of high - key color.

Painted with a palette knife during a single session in the studio, the paintings juxtapose a single, highly finessed field of color against a solid, white band commonly along the bottom or outside edges of the work.

The third painting, Gold and Black II from 1993, features a grouping of trees against a monochromatic field of saturated golden color.

Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard - Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors.

Gary Petersen paints progressively off - kilter geometries — quadrilaterals piled high, slipping against one another and crossed by colored disks, lines, or curves.

Pierre Buraglio cuts, folds back, and then paints the center of a canvas, for a vertical of deep color against the simplicity of its background and the wall.

A calligraphic leafed vine, painted in varying forms and colors against different grounds, is a recurring motif in the new work, which continues Amenoff's thirty - year exploration of an intense, romantic, physical, and densely woven semi-abstract landscape vision based both on observation and personal interpretation of the natural world.

Mason's skin is painted an unusual grayish color, which, against the blue ground, gives the figure a flat, cardboard - cutout quality.

Mr. Salle's harlequin figures, painted from color reproductions against tones of blue and orange, are splayed across the top half of his «Sextant in Dogtown,» from 1987.

His esteemed intellect not only undergirded his gorgeous, expressive paintings — frequently featuring bold black shapes against fields of color — but also made Motherwell one of the leading writers, theorists, and advocates of the New York School.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

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 chips.

Her use of bold colors against a predominately white background and the texture created by the layers of paint make her work some of the most visually interesting of the exhibition.

«Large expanses of color play against fragments of window frames, which imply both the point of view of the... read more... «Laura Newman's paintings of air»

Fujimura's Water Flames series approaches monochrome, the painted traces rising against fields of identical color as if under their own power.

Her mixed media abstract paintings play vibrant colors against deeply layered drawings and artifacts.

In a departure from previous works, the new paintings pair color against color, rather than incorporating white or raw canvas to stabilize the foreground.

During the period just before and just after the Russian Revolution El Lissitzky, Malevich and other Russian artists used these same colors in their paintings and their prints to assert an ideological position in support of the Bolsheviks (the Reds) against the counter-revolutionaries (the Whites).

Hard Edge Painting emerged as more than a reaction against Abstract Expressionism; it reflected a renewed interest in color isolated from emotion using geometric abstraction and a new approach to compositional unity within a single plane.

In her pulsating new large - scale canvases, Gilfilen pits clashing colors against one another in snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of paint.

Paintings like «Perfect Stranger,» 2014, collide blobby slabs of primary colors against a marine - blue background.

The paintings and sculptures of New York - based Wendy White reference iconic branding against a spectrum of color.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

In many of her paintings, Mason plays with complementary colors: in Traces (2012), reds and oranges face off against blue - greens, sometimes slashing, sometimes undulating.

Then you plunge into darkness and a series of paintings hung against walls painted in a somber color that suggests the atelier braun (studio brown) that Oswald Spengler identified as the «metaphysical» tone of great Rembrandt interiors.

Done with oil sticks pressed directly against the canvas, a method Mr. Goldberg chose some years ago over brushing with paint, they are energetic productions based on what he called a «quasi grid,» with patchy squares of color intersected at random by strong diagonals.

He pared away the brushwork and color, to paint thin sans serif block capitals against an even plainer white ground: I AM A MAN.

One can almost see your strokes as a kind of allover calligraphy, and there is something about the space in some of your paintings that seems to build into a space like, for example de Kooning's ribbons of color that are layered and overlapping, and working with and against gravity.

Versteeg pays attention to the aesthetic details of this presentation: for example, rather than hiding his wiring, he uses conspicuously colored cables that, when seen against the wall, mimic the lines of gestural drawing or painting, and in Boom (Fresher Acconci), his selection of an old - style 20 - inch monitor to display the images suggests the rapid rate of change in computer technology.

These paintings are characterized by discreet cloudlike forms of clear, and intense color set against a white or an off - white background.

The experience inspired a series of drawings, watercolors, and paintings in which the image of a bull is sometimes indicated directly, other times by abstract vertices of dark brushstrokes set against a brightly colored field.

With chiming harmonics of bright pure color Wright plays wonderful tricks in these intense parlors pitting ambiguous spatial effects against fully frontal areas of flattened paint festooned with ornament.

With colored thread alone, she constructs formless abstract drawings against painted panels.