Sentences with phrase «same as the abstract painting»

Not exact matches

As most people close to me know, I love everything marble, and this abstract splatter paint print gives the same organic effect without it being too literal.

You can see that from the lock screen, which uses the same abstract oil painting image as the Note 3.

3 Clyfford Still painted a traditional portrait of his mother (PH - 420) in 1946, the same year as his breakthrough exhibition of completely abstract paintings at Peggy Guggenheim's Art of this Century Gallery.

The light in the paintings acts as phenomenon, and at the same time the abstract color creates an experience of light and place.

Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a... Read more

Initially joining the weaving workshop, being one of the few options open to women students, Albers took on textiles in just the same way as she might have taken on painting, creating brilliantly patterned abstract wall - hangings alongside more functional textile designs.

Using a palette of the same four colors, Cranston reworks an abstract painting by one of the key figures in Modernism, Swiss / French artist, architect and designer Charles - Édouard Jeanneret, better known as Le Corbusier (1887 - 1965) in six variations, identical in form and composition but in different color combinations.

Coming of age artistically at a time when painting, especially abstract painting, was said to be dead, his early art employs impassive frontal images like Jasper Johns and incorporates words like did Bill Beckley, Robert Indiana, and Richard Prince at the same time as Wool.

Hoyland was not interested in symmetry, balance, all - overness, chevrons, monochrome, a mechanical look, or modular repetition — which are all characteristics of American abstract paintings being done at the same time by artists such as Kenneth Noland, Frank Stella, and Ellsworth Kelly.

I think a head can be an element just the same as any formal abstract element, so in that way I welcome narrative with these new paintings.

At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.

Did he paint it because he knew he'd be showing in London at the same time as the abstract expressionists in the Royal Academy?

I've been learning and practicing abstract painting and I hope to be on the same level as you someday!

In MoMA, NY # 1 (2014), a young woman faces the same large abstract painting as the young man in MoMA, NY # 5, yet she is shown in a slight profile while taking a photograph of the painting from the side.

Comparing it and the large abstract Wool painting, it seemed as if Wool was using nearly the same formal composition as the pirate, and it dawned on me, how perfect the content of a pirate was for abstract painting.

Andrew Masullo's idiosyncratic, small, colorful abstract paintings (a sort of Mary Heilmann meets Thomas Nozkowski) installed playfully not following a center line seem to be looking back to the same art historical moment in the early 19th century as Bess.

Whereas in London, even if the show was considered somewhat confusing and Pollock's paintings generally ridiculed, there was a tendency to consider all contemporary abstract artists in the same breath, united by a common gestural style and process - as can be seen in Patrick Heron's review, which singled out (with suspicion) both Pollock and Georges Mathieu, as well as Jean - Paul Riopelle.

The figurative work becomes more wistful and supposedly lyrical as the forties progress, culminating in the «Hammersmith» paintings of semi-abstracted atmospheric river and outdoor scenes, such as The Gardens of Hammersmith No. 2, made at about the same time as his first forays into abstract painting and collage.

It is beautifully paced so that inklings of the future were always there in hindsight, as it were; when you come to the Black Paintings, they still look irreducibly abstract in their visual lexicon, no matter how figurative they may be; and the same becomes true in reverse.

At the same time, Lesley Vance's work also draws upon the lineages of both abstract and representational painting, with Surrealism as an important touchstone.

Cathedral was painted in the same year that Lewis participated in a workshop with pioneering abstract painters such as Willem de Kooning, Arshile Gorky, Jackson Pollock, Mark Rothko, Ad Reinhardt, and Louise Bourgeois, who in 1993 presented a solo exhibition in the US Pavilion.

They saw that photographers could potentially make purely abstract compositions, same as a painter or a sculptor could, using light instead of paint, wood, graphite or stone.

«The painting leaves the studio as a purist, abstract, non-objective object of art, returns as a record of everyday (surrealist, expressionist) experience («chance» spots, defacements, hand - markings, accident - «happenings,» scratches), and is repainted, restored into a new painting painted in the same old way (negating the negation of art), again and again, over and over again, until it is just «right» again» (Ad Reinhardt, in: Americans 1963, Museum of Modern Art, NY, 1963).

Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a critical distance from them.

Other exponents of abstract expressionist painting, notably Kline and De Kooning, used similar methods although not to the same extent as Pollock.

The 29 paintings in this internationally recognized Brazilian artist's Kindred Spirits series present realistic portraits of Ms. Varejão with her face and body decorated with motifs related to Native American tribes as well as Minimalist artworks, while her abstract series of «Mimbres» paintings make visual reference to the artistically sophisticated group of people of the same name who inhabited the American Southwest in the 11th century.

As a collaboration of two artists painting on the same canvas we are guided by reaction and response, not imposing rules or process, to combine our very different methods of using paint to create atmospheric, abstract paintings.

I see it as a double challenge; to, all at once, question the hegemony of abstract painting's «post painterly» inheritance and, at the same time, move on from the empty rhetoric and theatricality of much gesturally driven painting - and do all this in original and surprising ways...... It will be very interesting to read the Brancaster crits coming up on the painters Patrick Jones and Nick Moore in all these respects...........

What was the connection between two artists as apparently different as Edvard Munch and Jasper Johns — the creator of The Scream, and the pioneer of abstract expressionism — and why had they given almost the same title to paintings separated by 40 years?

At the same time that some critics are preaching the funeral of the movement, Tworkov's recent work clearly demonstrates that, as an approach to painting, abstract expressionism is still very much alive.