Sentences with phrase «qualities of the painted surface»

Organic shapes are blasted apart by bright, unnatural tones of hot pink and acid green, while forms that reveal Wirsum's education in the vocabulary of modern abstraction are disengaged from the history of oil painting through the smooth, manufactured qualities of the painted surface.

Not actually visiting, I can imagine seeing the work, and I can also remember other works by Dower that I have seen before, like the one I saw here once at the Eagle Gallery, and where, in a conversation with the gallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted surface.

«For contemporary figurative painter Kent Williams, «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work» as its narrative aspects.

As one critic has pointed out, for Williams «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work as its narrative aspects.»

Not exact matches

Purchased plain white T - shirt of good quality (in grandma's size and toddler size) Different colors of fabric paint Old plastic containers Flat work surface covered in newspaper

Painted in the new shade of matte Manganit Gray Magno, the «Launch Edition» is a stunning composition of top - quality interior detailing — on opening the door, the AMG sports seats are an immediate eye - catcher, designo leather in «Corteccia Pearl» delivers a mesmerizing shimmering metallic surface finish.

We do the wine tasting and then have a discussion of our art - creating process, tell stories about the landscape scenes we paint, show them how we hand - prepare painting surfaces in the studio, talk about the quality, locally ground paints we have on our palette.

Tozer comments: «I'm excited about making paintings that accept all the limitations of paint and surface, and simultaneously try to make this stuff transform into qualities that paintings can only imply; movement, time, volume, light, etc..

But it is precisely this impenetrability to logical analysis as far as his method is concerned, that quality of the surface which appears as if it had happened rather than was «made,» which unexpectedly reminds us of the most original section of the new painting in this country.

With precise, clipped versions of nature but a joyful surface quality, the paintings juxtapose the hard edges of architecture with the dynamic chaos of the natural world.

Often incorporating song lyrics or names of former lovers, rendered illegibly, Dutcher does not attempt to hide the blemishes and humble qualities of his paintings» surfaces in order to emphasize their human touch.

Just the current show of Florine Stettheimer's extraordinarily gorgeous, inventive, kaleidoscopic paintings at the Jewish Museum suggests that there are a thousand aesthetic aromas, ideas of color, composition, surface, subject matter, metaphysical attitudes, body postures, and optical domains that have been cut out of the canon (probably because certain «qualities» have forever been considered too female, or «girly»).

His experiments with machine - polishing the surfaces of his paintings give his work its trademark luminous quality.

It is easy to see when someone is using quality paint and surfaces, and this will have a hugely positive impact on the longevity, vibrancy, integrity (and many other things) of a piece of work.

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

His fascination with technological methods for producing paintings is also evident in the 2001 television program Secret Knowledge, in which Hockney posited that the Old Master painters used camera obscura techniques to project images of their subjects onto their paintings» surfaces, leading to the photographic quality of Renaissance painting.

Using many layers of painting media, washi paper, and marble dust on panel, an exquisite surface quality is created that evokes ancient walls or tablets.

The paintings I had created were a surface lacking the quality of illumination which the slides possessed, a lack of illumination which often diminishes the paintings I see today in comparison to their on - screen «reproductions».

Both qualities are evident in Knight's Heritage, an important transitional piece in which Truitt still employed a brushy texture to define the paint surface and actual grooves to mark the three divisions (elements she abandoned in her later, smoother work) but began to break out of the somber tones of her earliest work and embrace glowing color.

Marcus was involved with some of New York's early performance - based Happenings, and the self - fashioning, performative possibilities of different surface qualities and textures comes across in a number of the show's paintings.

He was particularly interested in the effect of the soft, malleable qualities of the lead that became visible through the thin layers of paint which he applied to the surface.

For Pratten, they are one and the same, and a singular style can not express both, so two methods are necessary, academic painting for documenting the surface qualities of the visible world.

The transcendental quality of Georg Baselitz new exhibition Wir fahren aus at White Cube Bermondsey exists in the blurred surfaces of the artist's new paintings.

In Dissociation, utilizing acrylic - paint reproductions of man - made surfaces and refuse, the textures take on the qualities of paint; flexible, and lightweight.

He uses a wide range of brushwork and surface treatments to draw attention to the varied textures of the canvas - often applying distemper (a tempera paint made with dry pigments in animal glue) in thin brushy layers - to capture qualities of light and the changing effects of the atmosphere.

Postmodernism deprived painting of originality and first - hand experience at the same time that Greenberg's disembodied abstraction, addressed to eyesight alone, collided with the desire on the part of some artists to retain the wholeness of the aesthetic experience made available by the old masters in their fusion of the haptic quality of sensuous painterly surfaces with the optical melding of colour and light.

And yet it's much easier to perceive those qualities in the heavily worked and worried surfaces of Rauschenberg's art of the 1950s than it is in most of the Abstract Expressionists» paintings.

At the same time, the thickly painted surfaces emphasize the shape of the pairs, focusing our attention on the surface and abstract qualities.

The tactile quality of his surfaces in works like this one stand out and are a testament to the close relationship Johns perceived between painting and sculpture.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

The large - scale diptych painting titled Stigmata has a rich, deep, almost ethereal quality of surface and yet presents an uncanny similarity of form.

The figure — the head — is captured with the qualities of a film still, caught within a frozen and blurry moment, depicted in a reduced palette of colors that are rendered in a series of horizontal bands of paint seemingly pulled across a smooth surface — slick and evocative.

There is, in fact, a distinctly sculptural quality to the sunset paintings, with their undulating three - dimensional surfaces made up of painted bars — McLean, typically unpretentious, describes them as «real lumps of stuff».

From the»40s on, American Abstract Expressionism dominated the Western art landscape and returned many artists» attention to the evocative formal qualities of paint on canvas and traditional sculptural materials — although the biggest figure associated with «Action Painting», Jackson Pollock, also stuck detritus including cigarette butts, coins, buttons, and keys onto the surfaces of his paintings.

Famous authors, such as the above - mentioned painter Jackson Pollock, Morris Louis, and Helen Frankenthaler used it to produce flowing, most often abstract paintings and compositions which celebrated pure color, or the pure quality of the canvas surface as was the case during the Post-Painterly Abstraction movement.

These have an increased focus on surface quality and low relief, and demonstrate fusion of sculpture, painting, and ceramics into one form to create a dynamic work.

Whilst they are seemingly devoid of a human presence, there remains a subtle anthropometric quality to his compositions; the dimensions frequently relate to the proportions of the body, and his use of elements such as light, heat and mirrored surfaces — made using automotive spray paint on aluminium sheets — allude to, or reflect, the figure.

Forced to dig beneath the surface, collectors have discovered «artists who painted works of outstanding quality», but who «were marginalised due to inane factors like race, sex or geography».

Converting the spontaneous surface and atmospheric qualities of the oil pastels into deliberate oil paintings is the starting point of these artworks.

Upon seeing the selection of four monumental paintings by Olivier Mosset at the uptown Mary Boone Gallery — three of them dating from the 1980s — I was taken by their Classical stature, their hard - edge quality, and their openness of surface space.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

It is the unusual quality of this mind, penetrating nature to the core yet never striving to show its surface, that has been projected into paintings which captivate many and agitate others by their strange, often violent, ways of expression.

For example, museums have X-ray machines, which allow conservators to look below the surface of paintings to document their condition and quality.

In this way, although the paintings are fully representational, the incidental surface qualities introduce a degree of abstraction and visual ambiguity.

In Tim Davis's «Permanent Collection» series he takes photographs of classic paintings ranging from still lifes to religious, using the light of the camera's flash to obscure bits of the composition and / or bring surface qualities, such as brush strokes and crackling, of the physical object to light.

Worked with artist, Carl Ostendarp, to produce photographic documentation of paintings that convey material specificity, qualities of surface and accuracy of color.

This exhibition investigates the intersection of abstraction and animism as emphasized by certain formal qualities — goopy, sticky, ooey - gooey or otherwise materially luscious surfaces in combination with aspects of pattern and repetitions such as flutter, throbbing, palpitation, pulsating, orgiastic rhythms.The paintings in «My Vicious Throbbing Heart: Animating Desire in Abstract Painting,» consequently, operate in between coming into being and moving out of form and are underscored by a sense of aliveness.

He uses a wide range of brushwork and surface treatments to draw attention to the varied textures of the canvas — often applying distemper (a tempera paint made with dry pigments in animal glue) in thin brushy layers — to capture qualities of light and the changing effects of the atmosphere.

From 5 November the Museum will present paintings, watercolours and drawings by the prominent Irish artist William McKeown, whose monochrome works defined by their highly - finished surfaces explore the delicate qualities of nature.

Schutz presents a closely cropped and abstracted overhead view that uses the visceral quality of oil paint and a projecting surface to draw attention to Till's mutilated face.