Sentences with phrase «pictorial conventions of»

Deconstructing pictorial conventions of the past, artists of the second half of the twentieth and early twenty - first century reinvented the picture plane.

For certain observers, painting on such non-conformist supports, or relying on the pictorial conventions of the decorative arts, is still a way to brave prohibitions.

Deconstructing the pictorial conventions of the past, artists of the second half of the twentieth and early twenty - first century reinvented the picture plane.

The paintings fluctuate between the past and present, and between the pictorial convention of landscapes and abstract color fields.

Not exact matches

Christopher Williams: Normative Models continues the artist's active investigation of conventions of pictorial production and presentation.

Over four decades, Charlesworth investigated the language of images in our culture, dissecting pictorial codes and conventions while drawing attention to the role of photography in mediating our perception of the world.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

His watercolors, gouache, and oil paintings not only explore and expand the conventions of still - life painting, but also illuminate the relationship between pictorial space and depicted objects.

The influence of such artifacts on a generation of artists from both sides of the Atlantic was considerable at a time when they were determined to break with Western pictorial and sculptural conventions.

Manipulating pictorial and sculptural conventions through fantastically hand - crafted sets and costumes that combine drawing, painting, and collage, Bress creates a disjunctive world where spaces of imagination and representation compete for equal footing.

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.

While Satellite, one of Rauschenberg's earliest Combines, displays many of the visual traits common to the works that occupied the artist from 1954 to 1964, when compared with later efforts such as Canyon (1959), or Monogram from the same year, it is a reserved, diffident work, but no less determined in its explosion of contemporary pictorial conventions.

Recalling that Robert Rauschenberg once made paintings out of dirt, Storr concludes, «It's both the pictorial conventions and the material qualities of an object that make it a painting.

By reversing hierarchies of foreground and background and making incongruous compositional choices, both artists upend pictorial conventions and invite viewers to consider painting's inherent falsity while acknowledging its potential as a catalyst for communication and ideation.

The artists employ various techniques to tear away and supplant the legibility of images, retooling mechanisms and pictorial conventions, all the while adding their own meanings in the process.

In his handling of paint Colen collapses the legibility of his subjects, denying conventions of pictorial space, and conflating the phenomenal and the real.

The pictorial realism of Dutch Baroque art is married to such traditional European conventions as the open window in the corner of the Thomas Smith portrait, adding an idea of space.

All the works featured in the show are the product of Stella's diverse approach to the conventions of illusionistic and literal space, not just from a pictorial viewpoint but also from the architectural and sculptural.

Unlike them, Ryden embraces the monotony of obsolete pictorial convention and celebrates the illustrative.

In doing so they broke with hundreds of years of pictorial convention, yet their experiments remain largely unrecognised.

As far removed as the pictorial aesthetics and political transformations of mid-twentieth century may seem, their bright essence and dark shadows still cast vivid desires to press the challenges of convention and experimentation further.

His painting practice plays with, meditates on, and explores the conventions and contradictions of pictorial space through gesture, personal allegory and the materiality of paint.

Recognized for breaking conventions in painting and pictorial language, David Salle will showcase his new body of work next week at Lehmann Maupin.