Sentences with phrase «pictorial flatness»

Across several countries and decades, he resisted movements that propounded abstraction and pictorial flatness as the apex of painting.

This process energized him to paint broadly, while blocking out forms, adding colors, and omitting details — all in the service of augmenting the pictorial flatness and stillness he admired so much in the original source material.

These developments, Greenberg argued, freed color and pictorial flatness and non-depictive space for a sort of self - display toward which he believed modern painting had long striven.

The frame becomes a part of the object, shooting over the canvas in a futuristic diagonal and totally transcending any pictorial flatness.

While his unfussy, casual compositions share the pictorial flatness of AbEx, they are resolutely figurative; and while the cartoonish style foreshadowed Pop, Katz eschewed cultural icons for everyday folks, like his wife, Ada.

Not exact matches

While each adjustment is undertaken to orchestrate and tighten the relation of each pictorial unit to every other pictorial unit, to secure formally the integrity of each painting as a whole, the overall effect of the process is also to enliven the space, to acknowledge its flatness while simultaneously allowing it visually to twist and warp and bend, to project and recede, to be positive and negative — and thus to explore and personalize what's become natural to pictorial space since Cezanne and Cubism radicalized it more than a century ago.

«Liquid Villa» shifts between lucid, crisp dream architecture and colorful, blurring abstraction, unsettling the viewer between pictorial depth and flatness.

Like in Medieval tapestries, where there is tension between the pictorial depth and the flatness of the woven surfaces, my paintings hover in a similar duality.

In one of the new landscape paintings, traditional pictorial devices used to suggest depth or perspective are playfully challenged by the use of filmic text or explicit engagement with the flatness of the canvas.

Without a visual anchor, viewers can only drift within the spaces in which grid and cross intermingle, uncomfortably caught between two - and three - dimensional spaces where boundaries between pictorial depth and surface flatness begin to get fuzzy.

Drips and borders interrupt the perfect flatness of his pictorial screens or windows, reframing the binaries of opticality and expression, painting and object, agent and observer.

«For flatness alone was unique and exclusive to pictorial art.»

And in the hey day of Modernism, critics like Clement Greenberg pursued a narrative which saw Modernist painting as a «peculiar form of tunnel vision leading away from pictorial depth and compositional complexity towards flatness, all - overness and the absence of association.»

She often uses subtle references to the cultures and traditions she was exposed to growing up: calligraphy, manga and the flatness of the Japanese pictorial plane contrasted with the gravitas of twentieth century Western modernism.

[3] Flatness of the picture plane came from the evolution of modernism which started with Manet, and was of utmost importance to Greenberg, who observed it as the unique and exclusive pictorial trait.

He belongs to a generation of artists whose pictorial language brings together motifs linked to popular culture and the formal qualities of traditional Japanese art, such as flatness, pattern and lavish ornamentation.

Cézanne has me thinking of pictorial space - illusion and flatness.

«It was the stressing... of the ineluctable flatness of the support that remained most fundamental in the processes by which pictorial art criticized and defined itself under Modernism.

His encounter with Abstract Expressionism in New York in the 1960s enhanced the flatness of his pictorial surface.

To combat photography's encroachment into the realm of pictorial representation, Stella's paintings asserted their nature as objects by opposing the flatness and indexical specificity of photography.

In Rush's photo, there is a crisp tension between the flatness of the horizon line and the gate, both of which are parallel to the picture plane, and the illusionistic perspective of the pier itself, which leads our eye deep into the composition.This pictorial incongruence is to some extent reminiscent of the irrational juxtapositions in paintings by the popular Surrealist artist Rene Magritte (1898 - 1967).

Influenced by Clement Greenberg's theory of picture - plane flatness, and with an innate desire to reduce the medium of painting to its basic attributes, the Robert Ryman sought to do away with pictorial illusionism all together.

The volatile, yet visually highly visceral surface exudes a seductive power, holding the gaze spell - bound in a bewitchingly oscillating pictorial space that, despite its flatness, points to an almost uncanny infinity.

«Grotjahn's abstractions are, in relation to traditional pictorial modes, a matter of having your cake and eating it too, of experiencing vertiginous spatial illusions only to be brought back to the level ground of modernist flatness - only then to have the picture plane once again yield to the probing eye,» curator Robert Storr wrote in LA Push - Pull / Po - Mo - Stop - Go.

The works are neither purely pictorial nor truly sculptural, and the tension between the expectation and actuality of presentation, between their simultaneous flatness and three - dimensionality, serves to defamiliarize the white cube setting, demanding from the viewer a constant navigation of his own spatial experience.

If Tintoretto and the other old masters were «acknowledging the picture plane» or «acknowledging two dimensionality» by creating an unbroken surface skin, and modernist painting, since the breaking up of the surface, initiated by Constable (according to Heron, quoted by Robin in a recent thread), has acknowledged the picture plane through flatness of the remaining fragments / pictorial planes, then maybe one way forward would be to discover new ways of acknowledging two dimensionality that do not involve flatness.

Greenberg's reductive formalism exchanged pictorial space for flatness and insisted that everything that didn't have to do with the process of painting was irrelevant and extra-pictorial or literary.