Sentences with phrase «planes of colored paint»

Due to the design of the base, the rear of the opposite painting is seen behind the person, where flat planes of colored paint produce a loosely articulated second figure.

Not exact matches

I am however a bit surprised that they painted the sun - exposed surfaces such a dark color in both the new livery and its predecessor, and wonder if that makes passive solar heat gain more of an issue when the plane is on the ground.

She embraced the «synthetic cubist» method of painting, using small, geometric planes of strong color to create stunning, empowering portraits of women.

In «The First of May,» a large canvas from 1960, he paints a landscape of soft colors dominated by a towering plane tree whose branches and leaves are rendered in a swirl of strokes evoking Mr. de Kooning's gestural style.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

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.

Maher creates dynamic sculptures from concrete, aluminum, and resin; in his vibrant paintings, Dunlap divides the picture plane into interlocking geometries of shape and color; in video and sculptural works, Tenser considers autonomy and dependence.

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.

Sites, subjects, and methods of observation are critical to each artist's visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry - like world are some of the inspirations for the paintings shown here.

In a further step, he reproduced, reflected and reduced his motifs in his prints, which retained the planes of deep, radiant color that characterize his paintings.

Mary Heilmann's paintings are vivid abstract planes that lend equally from the bold hues of her own imagination and the heavily saturated colors of popular culture.

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.

In his current show, Whitney extends his gamut, going from thin, crackled surfaces, to washy, translucent layers exposing painted over shapes, to solid planes of 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.

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.

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

Hume favors bold shapes, flat planes of color, high gloss paint, and reflective surfaces.

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.

Oscillating between two separate works, Thomas's painted homage to Sojourner Truth's 1851 speech of Black female empowerment, «Ain't I a Woman,» and a religious altarpiece, Diptych presents the sexy, Black female body sculpted out of flat planes of primary colors in two dimensions on the left (a gesture reminiscent of the painterly techniques of her idols Jacob Lawrence and Romare Bearden), and in a televised two dimensions on the right.

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.

Some paintings depart from two dimensions through illusion, adding angled planes to the edge of his gridded rectangles, while sculpture takes the stacked colors into the center of a room.

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.

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.

In the 1950s, when Abstract Expressionism was still in vogue, Katz broke irreverently away from the wanton brushstrokes of Pollock and de Kooning to begin painting in his signature style — bold, stylized close - ups of elegant figures assembled from intersecting planes of saturated 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.

While Kahn's paintings maintained his characteristically deft balance of color, planes in his work began to smooth, brushstrokes elongated and softened, and forms became simpler.

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.

Calcago isn't just dividing the picture plane - you'd have to posit some effect of Frank Stella here - but segmenting three distinct shapes of the painting, descending in color from lemon yellow, to tangerine, red, purple, umber, blue to black, black back to yellow.

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.

Instead of flat planes, however, each plane of color is comprised of compacted small strokes of various colors weighted to a particular hue, like the fire - like brushstrokes in Pissarro's late paintings, or the compacted myriad of little strokes in pre-Renaissance tempera panels.

Fugue paintings, observed from a distance, appear airy and atmospheric, a hazy veil of color suspended somewhere just before the picture plane.

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.

In the «color field» paintings of Kenneth Noland, John Hoyland and Etel Adnan, for example, pure planes of colour dominate and individual gesture becomes secondary to colour and line, and their interactions.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pColor Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture pcolor spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

This master of terse lines and contrasting chromatic planes finds the core of her painting within the formal simplicity and a striking sense of color.

DeFeo often applied paint to canvas in thick layers, while Lawrence and Davis created flat planes of vivid color.

In his abstract paintings from the 1960s, single - colored geometric shapes pulse rhythmically across their flat ground planes, or torque the surface of the canvas.

The new paintings incorporate subtle shadows that give the intersecting planes of pattern and color an added depth and identity.

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.

For example, in a painting on paper from c. 1946 - 1949 inscribed and gifted to Anni Albers, Asawa uses subtle modifications in color and form to create a sense of depth and motion within the otherwise flat picture 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.

Emerson's paintings create powerful vibrations by combining strategically situated colors in layered geometric patterns that jump out of their two - dimensional plane.

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.

Second, moving around big pieces of painted paper for the mock - up of the elevator bank mosaic led Hofmann to the signature motif of his late work: little floating planes of color, squares and rectangles of pure color locked together across the surface or isolated on fields of murkier colors.

For instance, one long horizontal painting uses almost unscathed planes of chalky color, their borders meandering but determined, like the lines of a watershed.