Sentences with phrase «planes of color with»

Such painting is known for its smooth surfaces, impersonal style, simple forms, and planes of color with hard edges instead of gestural brushstrokes.

In these paintings he joined broad planes of color with a superimposed linear structure.

In 1956, Hartigan began what became a series of «City Life» paintings, which combine interlocking planes of color with imagery that reflected the street scenes of her neighborhood.

Not exact matches

Because of two properties of the functions: They can be defined and expressed on the two - dimensional plane, which naturally corresponds to the canvas; and Saint - Amant can associate colors with the numbers the functions ordinarily produce.

The transparent shapes, which appear black in low light, are crystals with an orientation that's perpendicular to the ice slice, and each color corresponds to a different angle relative to the plane of the ice section.

Away from the Galactic plane, vast majority of the dots are galaxies, color coded to indicate distance, with blue dots representing the nearest galaxies in the 2Mass survey, and red dots indicating the most distant survey galaxies that lie at a redshift near 0.1.

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She highlighted the high planes of the face with a combination of Maybelline New York Baby Lips SPF 20 Lip Moisturizing Balm in Quenched and EyeStudio Color Tattoo Pure Pigments Loose Powder Shadow in Barely Branded.

... And yes, that gives me comfort only in the sense that what viewers will see in the opening episodes is such a perversely wonderful hallucinogenic experience — dance numbers, shape - shifting, the creepy sound of frozen people and their chattering teeth, explorations of color, astral plane hijinks and multiple WTF moments — that there's comfort in knowing it's not all just cinematic showboating, a Pollock / Rothko virtual reality with no meaning.

The pastel - colored world of Zubrowka is captured with all the idiosyncrasy and precision Anderson is known for: written notes, books and objects are shot straight on with loving detail, flat - planed shots center characters in the middle of the frame, and hand - crafted miniatures depict many of the film's more fantastical settings and vehicles.

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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.

Diebenkorn's practice is unique in that he deftly marries the flat color and planes of brushwork so lauded by the Abstract Expressionists with representational subjects that are influenced by some of Matisse's visual tropes and his dynamic creation of space through form and color rather than perspective.

Initially, Sanín created works using a gestural abstract style, like contemporaries Elaine de Kooning, Lee Krasner, and Joan Mitchell, but found her true voice in the geometry of hard - edge, symmetrical compositions filled with flat planes of color.

Her body contorted and her gaze directed downward, her form dissolves into planes of color and blends with the surroundings.

Influenced by the Post-Impressionists, Vlaminck and his fellow artists rejected traditional three - dimensional space and sought to build composition with the movement of color planes.

She infused her art with these experiences through a labor intensive process — applying many layers of paint by hand to each piece and sanding the surfaces to a fine finish — and the bands of rich color that cover her sculptures, liberated from the traditional two - dimensional plane of painting, prompt viewers to make their own associations with her work.

That may be why the show's best surprise is a large abstraction, with all the colors and cut planes of his art, their sensuality implicit.

Schutz creates unsteady cornucopia compositions that build out of paint, creating shifting spatial planes that flip - flop, flickering in confetti color and, until recently, with creamy paint, which flower into bucolic clusterfucks.

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.

The final wall is devoted to pieces from Ippolito's «Regatta Series» (1984 - 89) in which the watery color planes suggest abstract but recognizable elements like pennants, sails and boats, and black wave forms blend into blue ground in «Land's End» (1986), with the full blast of wind on sails being felt in the horizontal diptych «Windward» (1987).

Often associated with Abstract Expressionism, color field painting is characterized by flat areas of color spread across the picture plane.

She continues to skew and play with the planar definition in the paintings» fields; now both color and plane appear to resist the laws of nature.

Their shaped canvas fits together into rectangles that deny the shaping, while warm colors and soft modeling in turn disturb the picture plane with the illusions of a third dimension.

Henry directs these brightly colored planes to react and interact with each other; exploring the logic of repetition and variation.

The panels riff on the shapes in front of her or in memory, with seemingly unrelated color fields flush to the picture plane.

Bright colors, hard edges and bold geometry convey not just the metropolis, with overlapping planes that offer the appropriately byzantine complexity on an optical level, but the feeling of sunlight and warmth that greeted her there.

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.»

Melbourne - based artist Michael Staniak (born 1982) creates paintings that intentionally confuse the digital with the handmade; rugged planes of color and texture evoke the hyper - saturation of our technology - centered world.

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.

Scholars note the influence of post-impressionist arranging of color planes to create a pictorial space in Giacometti's work, «model [ing] according to Cezannean technique of building up volume with a patchwork of complementary colors and highlights.»

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.

His figures, with undefined faces and broadly applied forms, are more anonymous than individual, cast in candied colored planes of abstraction.

Proving the painting's flatness with frontal shapes or solid stripes must have seemed superfluous or monotonous to him; he wanted movement; he wanted your eyes to dance and skitter across the painting, where the ground might be mottled or solid, where the shifts of color and surface pull you closer, where the space between the planes and vibrate or smolder, where color intensities vary considerably.

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.

Inspired by the hard - edged abstraction of Frank Stella and the shaped supports of Ellsworth Kelly, Parazette builds his paintings meticulously by adding layer upon layer of acrylic until each plane of color is flawless, its edges accentuated with precise pin stripes.

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.

These gradients become conveyor belts moving planes of space with color.

This is a well spiked with a few big names and themes: the color theory of Josef Albers, the concentric lines of early Frank Stella, and the irregular shapes and flat color planes of Ellsworth Kelly.

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.

Drawing on inspirations ranging from Buddhism and American modernist painting to psychedelia and Amy Winehouse, Brooklyn - based painter Chris Martin (born 1954) «lets the paintings make themselves,» with often generously scaled canvases characterized by flat yet textured planes of bright, saturated color, frequently incorporating found materials and highly personal paper ephemera.

The perspective is warped, with an unusual horizon: the white floorboards take up most of the picture plane, the wall only a small diagonal strip of color at the top.

The exhibition includes work concerned with formal compositions comprised of simple planes and blocks of color.

He toys with illusions of three - dimensionality, but the vibrant color and decorative patterns prevail, reinforcing the flatness of the picture plane.

«The new air - planes, the blimps, the dredges, the ships of the base... tore me away from all of my grooved habits, from my play with colored cubes and classic attenuations,» Benton later wrote in his autobiography, describing this transformative moment.

The principal planes are colored masses with the contour of objects pinned down to the surface of a perfect silhouette: synthetic, sculptural and spontaneous, the image looks intoxicated.

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.

Exploring the possibilities of the grid since the late 1960's, Willis became a member of the Third Generation of Abstract Expressionists, with his «Wall» paintings where he worked in a unique wet - on - wet method creating linear colored bands across the surface plane.

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.

The pleasures of minimal clarity combined with the powers of pure color are represented by the reductive encaustic work of Gail Gregg, Don Voisine's painting with its shifting bright planes, and in James Juszczyk's subtle tonal gradations.