Sentences with phrase «quality of the paint become»

Each bears the name of its former home — such as Solomon R. Guggenheim Museum, New York; Pinakothek der Moderne, Munich; Serpentine Gallery, London — and when viewed together, the subtle variations in texture, shade of colour and quality of the paint become apparent, indicative of the self - presentation of each institution.

Not exact matches

In a work like TW - 091, short marks dominate and, as the stylus made lines take on the quality of a sculptor's quickly and skillfully carved strokes and as the depth of the warmly hued paint seduces the viewer, the work itself becomes at once drawing, painting, and sculpted panel.

My interest in the physical, tactile qualities of painting has been there from the beginning, and became more and more prominent, even in my abstract works.

Appropriately enough, Moyer had first become interested in the formal qualities of moving blankets — their off - kilter color combinations, the patterns of their stitching — while assisting the artist Mika Tajima, who at the time had taken to displaying paintings in the kind of wooden storage racks typically found in a gallery's back room.

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.

Throughout his multi-faceted career in stand - up comedy, music, film and television, Mull has become well known as an ironist and satirist, however, the comedic quality of his paintings is contradicted by an equal amount of sorrow - he has moved beyond irony and satire to successfully achieve depth and meaning...

As though he were referencing French Existentialism, the lack of human presence is palpable and becomes a quality within the painting that, in turn, heightens the importance of the quotidian objects represented (i.e. the still life and the interior).

Natalie Reusser's experiments evolve from a fundamental engagement with the materiality of canvas and paint to a body of work, in which the textile qualities of the supporting material become the focus.

There is also a performative quality in his works, which becomes clear not only when Linnenbrink pours the resin with its added pigments onto the image carrier, or drills holes in the hardened paint layers of some paintings.

Pearsall's paintings have a masterful quality, which can be difficult to access only because of their strangeness and ambiguity; the more his epic narrative is given weight or trusted, the more unsettling it becomes...

Hints of of his pursuit of these qualities were already present in crude form in his early paintings, such as Untitled, 1959, and have become the principal assets of his mesmerising CS series from 2014.

The relationship between Scully's painted bands in the Landline series therefore becomes one not just of colour, texture and form, but of weight and density — the material qualities of air, water and land become evident in his work.

They become acutely aware of the space and material aspects between point A and B. Eventually I made the switch from painting on the city surfaces to working with the physical and metaphysical qualities of materials that lay beneath.»

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

The exceptional fluidity and high gestural quality of the paint that becomes flesh — the one into the other, inseparable — emphasizes the carnality of both.

In the end, the word (s) in the word paintings mean nothing outside of their formal quality and so become distracting if too prominent.

His career seemed to move inexorably toward creating an extra dimension, as his paintings took on the sculptural quality of shaped canvases and pushed into the gallery space, becoming more and more three - dimensional.

Paintings, sculptures, drawings, installations, photographs, films, and editioned works of the highest quality are on display at the main exhibition hall, while ambitious artworks and performances become part of the landscape at nearby beaches, Collins Park and SoundScape Park.

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.

Rosenquist enjoyed the effect of using a billboard style of painting on smaller canvases, where the images became softly blurred and their literal quality was lost in the close - up orientation and the cropping of the image.

Like artists such as Willem de Kooning or Frank Auerbach, Martin uses heavy impasto to explore and expose the material qualities of the paint itself: approaching the edge, the chaos on the surface of these muted artworks becomes visible.

The material qualities of the paint and its application became perfunctory for me.