Sentences with phrase «planes of color as»

Not exact matches

The second plane cuts from the surface to 24000 km deep showing areas of faster sound speed as reddish colors and slower sound speed as bluish colors.

It's as if with line from the loom - Weaver knife and weaver brush Stitch color thick into Diamond and terrace, into Planes black as wool tied by Stripe and cross, all falling in The warp and weft of weave, Patchwork tricksters playing «till Depths fill with ring and bell Purple against the harvest moon.

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.

In the case of Seeded (1960), the first work on the right as visitors enter the gallery, these colors are amalgamated in an energetic mass of swirls, curves, bold lines, and planes of color that are further enlivened by patches of canvas left bare.

Painting in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines, Katz sought to convey the appearance of things as they are both felt and perceived in the «present tense,» the now.

When viewing the work, the eye of the viewer can follow a color across the picture plane, he can see how the color moves and vibrates as it changes gradually in value, temperature, intensity or hue.

Whereas de Kooning embraced active, dynamic brushwork in such milestones as Woman I, 1950 - 52, Diebenkorn's compositions bring together soft planes of color that undulate and flow within the frame.

Each box is a well of space and color whose overlapping, intersecting planes evoke Judd's origins as a painter and his lifelong admiration for painters like Barnett Newman, Mark Rothko and Josef Albers, who favored simple forms and strong color.

The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color field painters.

My work is figuration that flirts with abstraction; I've reduced the figures down to a flat plane of color, but they still register as a face or a hand.

I set up these areas of flat color that become shapes that interlock and break apart as they move backward or forward in relation to the picture plane.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

The paintings he produced there, such as Place des Vosges, No. 2 and Place Pasdeloup (both 1928), are reductive cityscapes, with stark planes, and rather sweet colors that seem to emulate the charm of late Impressionist painting.

Figures are frequently at one with their environments — not just because of their relaxed, natural poses — they also often literally blend into their surroundings, as they share the same plane of color.

Planes of light and dark in contrasting colors counteract one another, revealing remarkable complexity in the works on view as part of Manual Digital, an exhibit highlighting eight artists in -LSB-...]

Some, like Self - Contained Lavascape, are almost serene, as shapes and colors swirl across the plane, while others, like Volcano Dream — Destruction Dream, are violent tangles of forms that crack, twist, explode, and spew across the paper.

In «7.11.66» (1966) and «3.12.65» (1965), the intervals of the angled planes, as well as their orientation toward the painting's picture plane, move attention in and out of a space that is saturated with color.

The structure of Hofmann's well - known Slab paintings of the 1960s, with their hovering rectangles, is similarly informed by the generous planes of Synthetic Cubism, while his life - long exploration of color as both a vehicle for emotion and means of creating space can be related to his admiration for the work of Henri Matisse.

Working alongside Color Field painters such as Kenneth Noland and Thomas Downing, Gilliam elaborated upon Color Field processes and aesthetics while subverting Greenbergian notions of the «integrity of the picture plane,» and disrupting the boundaries between the visual world of painting and the tangible world outside it.

The genre is now referred to as the Bay Area Figurative School and is marked by bright blocks of color in which artists portray the planes and the shores of their California surroundings.

The urban and natural environments surrounding her shape her compositions, as do the plane of the canvas and the physicality and color of the paint.

Spectral things are going on with Albert Stadler — a torqued set of stripes as if the picture plane blew at a hard tilt and then caused its color to flow down as if rain - washed, at an angle.

In introducing Murray that evening, Varnedoe referred to her work «as dramas of form and color that accept, indeed demand, to play on the more austere terrain of high abstract art, in decisions about push and pull, bright and dark, fragmented and whole, planes and volumes, sculptural and painterly, that move us before we know what they are about.»

Wilke described the arrangement of brightly coloured sculptures, which were originally installed on real earth and grass as «womblike blossoms resembling Venus mounds, a centrefold evolving from a circular plane, universally existing in both primary and secondary colors.

Since 2007, Tadasky has reintroduced optical effects by infusing his atmospheric circles with brightly colored drips of paint that activate the surface and create a three - dimensional illusion as though the circles bulge out of the picture plane.

Albers's precise application of color also created plays of space and depth, as the planar colored shapes that make up the majority of his works appear to either recede into or protrude out of the picture plane.

The Irish - American painter has been reinterpreting abstract art since the 1960s, not as a purely formal exploration of color, form, planes, structure, body and light, but as a medium whose means of expression is tied to external and internal moods, literary influences and physical experiences.

In «Double Bill», a 2012 series of large inkjet prints, [19] Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand Léger with Max Ernst) on a single canvas, further altering the appropriated picture plane by overlaying his own hand - painted color additions.

That Avery's planes of color were important to Rothko as he developed his thoroughly abstract imagery is an art - historical commonplace.

In attempting to evoke the wonder, curiosity, and magic moments that unfold in life, taking shape as form, dynamic color planes, and a surreal perspective on space, Rebecca Norris Webb returned to her home state of South Dakota to produce a body of work.

The colors cling to the picture plane even as the translucent fields they inhabit unfurl to reveal the depths of space churning below.»

In Turrell's recent work this opening appears as a solid plane of color, surrounded by a geometric boundary of LED lighting.

As Browne drew attention to the transfer of three - dimensional objects to two - dimensional planes using bright shades of blocked color and the stylized treatment of his figural subjects, he explored his interest in the relationship between art and nature.

I suppose my one quibble is that the ground can become too atmospheric and lose its function as a plane, but Jones» orchestration of jarring colors, light and dark, and painterly effects generally overcome my hesitation in this regard.

Works such as Latz (2014) depicts Neukamp's ability to create almost vector - like graphics, which oscillate between ambiguous planes of texture, geometry and color.

As is typical of Nilsson's style, wiggling limbs weave between each other pell - mell as swathes of color trifurcate the picture plane into three intertwined sceneAs is typical of Nilsson's style, wiggling limbs weave between each other pell - mell as swathes of color trifurcate the picture plane into three intertwined sceneas swathes of color trifurcate the picture plane into three intertwined scenes.

The subtly decadent, organized planes of color and texture serve as visual offsets and underline the surrounding architecture of the Anita Rogers Gallery.

Over, under, and between them, Krasner adds more bursts of color and plain white, as if thickening the picture plane itself, again often in diagonals.

This contrast between the vibrancy of Francis» color palette and the austere white picture plane demonstrate the artist's concern with relationships of space, color, and light, as opposed to the psychologically expressive tendencies of contemporaries such as Jackson Pollock.

In 1960 Greenberg wrote a major essay for Art International, «Louis and Noland,» which brought worldwide attention to the two artists Greenberg described Louis's groundbreaking stain technique as a means of giving primacy to color: «The effect conveys a sense not only of color as somehow disembodied, and therefore more purely optical, but also of color as a thing that opens and expands the picture plane.

Planes of light and dark in contrasting colors counteract one another, revealing remarkable complexity in the works on view as part of Manual Digital, an exhibit highlighting eight artists in the US working to deconstruct technological paradigm shifts through their work with traditional art materials and practices.

Alongside his pictorial explorations of light and shadow, color and construction, and the transparency of planes, Kuitca incorporates elements of past series such as fragmented maps, architectural floor plans, and thorns.

In many of his paintings, organic - looking forms are hemmed in by rigid geomtric planes of color; thick, bold gestural strokes serve loosely as both directional signposts and visual barriers.

The Synchromists made use of the broken planes of the Cubists, but their lavishly colored areas of paint sometimes looked, as the art historian Abraham Davidson has described them, like «eddies of mist, the droplets of which collect to form parts of a straining torso... To find anything like this in American painting one has to wait for the color - field canvases of Jules Olitski in the 1960s.»

Paint, wood, Velcro swatches, staples, metal and debris playfully conjoin as self - referential qualities that allude to process and materiality, while a deliberate use of tonal planes and gradation bespeak a progressive variation of color - field aesthetics.

About evenly divided between abstract and representational works, the Meyerhoff collection demonstrates the captivating use of color by artists as different as Josef Albers (the intense «Study for Homage to the Square: Light Rising,» with its glowing inner plane of yellow) and Eric Fischl (sunbathers lavishly arranged across a yellow ground in «Saigon, Minnesota»).

All added up to her eccentrically shaped paintings: wafer - thin enamel - on - aluminum compositions of shifting color planes within extruding and sloping architectures that she mounted as closely as possible to the space's walls.

For the installations and wall drawings in «Dentro, o que existe fora» (Inside, What Exists Outside), the artist used colored planes to form simple geometrical compositions that nonetheless produced complex experiential effects, giving the impression of three - dimensional shapes folding into and out of the corners, walls, and floors of the gallery, as if collapsing out of and drawing viewers into revealed spaces existing parallel to the structural planes of the

Following this, if we steady our gaze, taking in the entirety of the painted field as a relative totality, the divisions between forms gradually fade away as the painting darkens into a single, monochromatic plane of color.

The first solo exhibition in 2011, Elusive Transparencies, was a survey of what the artist referred to as «see - through» paintings — overlapping planes of color that looked as though they were floating in space, conveying depth and perspective — that were very important to him and spanned nearly his entire career.