Sentences with phrase «recognizable subject»

This three - woman exhibition consists of very different, though interestingly related, approaches to the use of recognizable subject matter.

For decades he has been a highly visible force in the movement to combine the freedom and immediacy of abstract expressionism with recognizable subject matter.

Traditionally, the reclining nude has been one of the most recognizable subjects, but beginning in the 20th century artists have been seeking to make this traditional subject more contemporary and relevant.

He soon moved completely away from recognizable subject matter and definitively became an abstract painter.

Like many abstract artists, Helen Frankenthaler (1928 — 2011) continually tested the constraints of the genre, at times inserting into her compositions elements of recognizable subject matter.

Nan Hass Feldman's «Terrace Above the Harbor», is a Fauve Expressionist painting which means a loose, painterly, recognizable subject created with emotional subjective color.

In the 1970s he reintroduced recognizable subject matter into paintings that nevertheless remained largely intuitive, colourist exercises.

In some works the viewer espies easily recognizable subjects such as Barack Obama, Ronald Reagan, The Beatles, Jesus Christ, Michael Jackson and Bubbles, Herbert Hoover and John Dillinger.

The work Dodd exhibited in the 1950s shows the influences of the period's gestural abstraction, with areas of loose, brushy color filling the spaces between recognizable subjects, like the cows she initially exhibited.

Although Rothenberg often portrays recognizable subjects, her work is rarely transparent in meaning — she has said that she does not «want to get too literal about things,» and wants «the viewer to be able to do the work too.»

Though the canvas is purely abstract, its ominous yet captivating atmospheric haze recalls the more recognizable subjects of Goldstein's earlier work.

Insisting on recognizable subject matter and depictive style, the Chicago surrealists ran counter to the rising tide of Abstract Expressionism on the East Coast.

Her loose and linear brushstrokes consist of elements of abstraction, but depiction of recognizable subjects moved her away from the current artistic trends.

One of the most recognizable subjects in the history of art, the Three Graces of Greek mythology have been the subject of countless artworks, poems, dances, and musical pieces.

While never entirely abandoning recognizable subject matter, he composes with an abstract sensibility, emphasizing image with a dramatic use of color and a whimsical use of pictorial space.

Elaine de Kooning While many Abstract Expressionists eschewed recognizable subject matter all - together, Elaine de Kooning, wife of the painter Willem de Kooning, frequently blurred the line between abstraction and figure painting.

• Biography • Early Life • Pop Art • Instantly Recognizable Subjects • Experimental Artist • Artistic Achievements and Awards • Most Expensive Paintings

In 1936 Pollock began to eliminate recognizable subject matter, and replaced it with angular, non-representational shapes and thick, rhythmic coils of tarry black line, which stood out in assertive texture and relief.

Nan Hass Feldman's «Cabin in the Woods», is a Fauve Expressionist painting which means a loose, painterly, recognizable subject created with emotional subjective color.

In recent years, he has produced an expansive body of work, moving effortlessly from recognizable subjects (architecture, landscape, railroads) to abstract photograms, from exquisite gelatin silver prints to radiant fields of color.

Although some abstract expressionists continued to experiment with pure abstraction, others began to reintroduce recognizable subject matter into their canvases.

They wanted their art to be much more inclusive than traditional styles (like Abstract Expressionism), so they used non-art materials and focused on ordinary, easily recognizable subjects that expressed the popular culture of the day.

He turned away from abstraction in the 1950s, developing a style that continued to use the dramatic forms and vivid colors of abstract expressionism while portraying recognizable subjects — landscapes, portraits, interiors, and still lifes.

These undercurrents compelled a number of artists, particularly those of the Stieglitz Circle, to reject European influences and abruptly end their earlier forays into abstraction — O'Keeffe's wonderful meditations on form and color, Hartley's Synthetic Cubist works painted in Provincetown and Bermuda in 1915 and 1916, Dove's seminal series of pastels from 1910 - 11 — and focus on more recognizable subject matter.

The trouble begins when Dickerman goes on to define abstract art as an art that «dispensed with recognizable subject matter.»

The pure abstractionists keep to the relatively safe waters of inventive ebullience, while Brown and company brave the rapids of recognizable subject matter, while holding fast to the same improvisational attitude that marks abstraction's timeless appeal.

According to this definition, the wo4 of art functions as a symbol when ii offers the viewer a manner of looking ai something which reveals an otherness, What we look at may be a recognizable subject or the nonreferential manipulation of paint over a surface.

Unconventional application of paint, usually without a recognizable subject (de Kooning's Woman series is an exception) that tends toward amorphous shapes in brilliant colors.

Featuring internationally recognized artists such as Pablo Picasso, Frida Kahlo, Andy Warhol, Ai Wei Wei, Jean - Michel Basquiat, Lyle's paintings unfold as such; recognizable subject, recognizable composition, laugh, debate narrative, repeat... The narrative, of course, as seen through the lens of a full - time painter and part - time «jack of all trades» who must take whatever job he can get in order to connect the dots and survive.

The actual paint or ink falling down the substrate and forming a recognizable subject (the waterfall) is, in itself, a combination of real and symbolic imagery.

Or are you drawn to a bold design filled with line and form, but no recognizable subject?

We also spotlight educational institutions that offer fine arts programs committed to formal excellence, craftsmanship and recognizable subject matter.

Not everyone felt comfortable with the newer styles, but everyone flocked to see them, and artists felt increasingly inspired to push boundaries, no longer confined to recognizable subject matter alone.

While pieces such as Stumble (2009) depict a recognizable subject (a painterly beetle righting itself), other pieces such as Landscape (2010) employ a minimal sense of realism with a vague strip of land passing beneath a bird's eye view.

Their mature post-abstract figurative paintings preserved a sophisticated dialogue between abstraction and representation — the image oscillating between a recognizable subject and a boldly colored, abstract arrangement of thick slabs on paint.»

As you look at the paintings, you may attempt to make out some recognizable subjects, since they seem to be responses to the landscape or still - life traditions — and based on the brushwork and colors, they are.

Their splatters did not create a recognizable subject but instead embodied all the unique qualities of painting (pigment on a flat support).

Moving away from portraits of such recognizable subjects as Michael Jackson to depict traditional, anonymous subjects has allowed Jacquelet to concentrate on the figure and the medium of painting itself.

«In the paintings I like to have a recognizable subject to ground an abstract idea.

In the 1950s, a period dominated by Abstract Expressionism, he was overlooked by critics because of his adherence to recognizable subject matter.

Nor a recognizable subject.

A deeply conceptual meditation on the interplay between light and water, the Thames as a recognizable subject recedes into abstraction.

However, if there is no tug of war between purely abstract and so - called representational elements in these harmonious new pictures, that's because, in a way, her recognizable subjects serve as «abstract» pieces in her broader compositions.

They deal with recognizable subjects, but do not set out to shock or dismay; on the contrary, their work offers us aesthetic delight and intellectual probity.

The two strands were also called «the extensive,» which retained ties to recognizable subject matter, and «the intensive,» which renounced such imagery.