Sentences with phrase «quality of the brushstrokes»

That painterly quality of that brushstroke patterned dress really is enchanting, I agree.

«Mondrian was perhaps the first painter ever to be purely concerned with the formal qualities of the brushstroke, and with the optical» — Benno Tempel

There's something about the quality of the brushstrokes, the layers of paint and glaze creating depth, and the use of forms that can conjure dreams of a cityscape that feels like his work belongs to both contemporary abstraction and the heyday of Abstract Expressionism.

In Passlof's large works from 1958 - 9, the referential quality of her brushstrokes and a particular, dappled light confirms her interest in sources outside the paintings.

Notice the quality of the brushstrokes of the blue wall.

That said, I love the textured white look (though even the thought of dusting those little hexagons... no thank you) and any combination of white and gold is just so pretty, not to mention the soft handmade quality of the brushstroke lamp.

Not exact matches

She love the creamy color and intense luscious look of oil paint, making brushstrokes that bring out that quality in the paint and try new ideas, colors, and subject matter.

She love the creamy color and intense luscious look of oil paint, making brushstrokes that bring out that quality in the paint and try new ideas, colors, and subject matter.

She love the creamy color and intense luscious look of oil paint, making brushstrokes that bring out that quality in the paint and try new ideas, colors, and subject matter.

This stanzaic quality was noted early on by Paul Auster in an essay for the first show of the Brushstroke canvases.

The individual curls and ripples of paper echo the contours of traditional brushstrokes, in some passages even taking on the gestural quality of abstract expressionist paintings.

Fine art giclee prints are museum quality, richly coloured and retain the beautiful detail and brushstrokes of the original painting.

In a review from 1951 Robert Coates noted the flat, «ribbony» quality of Tworkov's brushstroke.

Though he still utilizes the textured quality of a post-impressionist brushstroke, his rocks, trees and hills are reduced to nearly abstract forms.

Both the studies and the paintings are typically in one colour — sometimes vivid and saturated, other times diluted to the point of invisibility and sparely applied — with the particular qualities of the paint and brushstrokes left visible to allow for subtle variations in tone and irregularities in line.

The Crow exhibition catalog states that the pieces «have a dreamlike quality reminiscent of surrealist explorations of the unconscious that melds, unexpectedly, with visible brushstrokes and the traces of swift, decisive action.»

The three - dimensional quality of Alexandra Levasseur's work offers something fresh, not shying away from the textured brushstrokes.

A scrubby, sketch - like quality of similar color brushstrokes is applied in layers to create perspective.

Aniela Sobieski's new paintings of surreal, dream - like characters lend emotionally, and narratively charged qualities in every brushstroke.

In addition to her choice of color, the deliberate quality of Rodriquez» brushstroke and palette knife is an important gestural aspect of her work.

Titian used a looser, more abstract brushstroke that gave an unfinished quality to highly expressive effect, while Rodin, upon viewing Michelangelo's uncompleted sculptures, recognized the emotional power of leaving visible the emergence of form from raw material.

With such a reduced and minimal language, he is able to highlight qualities of a painting that he feels are often overlooked, such as different types of brushstrokes, the methods of applying paint to the surface of a support, variations within the color white, and the way the placement of an artist «Äôs signature affects a painting «Äôs composition.

The schemer of the brushstroke feels akin to the quality of what Emmett Till's flesh must have been like as it came out of the water.

But the starting - point of these second - generation artists tended to be an appreciation of the painterly quality of the abstract - expressionist brushstroke rather than existential motives of the sort that prompted the work of the artists of the New York School.

While still in her 20's, Corse, now 66, was already wrestling with the big issues: how to combine her interest in Minimalism with her fondness for the good old - fashioned brushstroke, as well as for the qualities of pure, unadulterated light.

Through the contrast of the focused object and passing landscape, Sachs» pieces levitate between abstraction and reality, photography and painting, the latter suggested by the blurry quality of the landscape that, as if applied by lavish brushstrokes, becomes painterly.

Others have a more painterly quality, where vibrant brushstrokes scratch at the canvas, like a man scratching at the walls of a prison cell.

By replicating their bold, fluid, and gestural brushstrokes by other means and on a smaller scale, one could say the abstract expressionists were making «still lifes» of the painterly qualities that they were working so hard to cultivate on their canvases.

The artist's gestural mark - making emphasizes the material qualities of her medium, as frenetic marks and thick, impasto brushstrokes create a rhythmic sense of movement and flux that is at once poetic and chaotic.

She love the creamy color and intense luscious look of oil paint, making brushstrokes that bring out that quality in the paint and try new ideas, colors, and subject matter.

She love the creamy color and intense luscious look of oil paint, making brushstrokes that bring out that quality in the paint and try new ideas, colors, and subject matter.