Cézanne's
solid planes of color insist on the surface of the painting as a flat field against which the painter acts.
Each painting consists of either three or four squares of
solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 406 × 406 mm to 1.22 × 1.22 m. [13]
In his current show, Whitney extends his gamut, going from thin, crackled surfaces, to washy, translucent layers exposing painted over shapes, to
solid planes of color.
In Turrell's recent work this opening appears as
a solid plane of color, surrounded by a geometric boundary of LED lighting.
Not exact matches
Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture p
Color Field is characterized primarily by large fields
of flat,
solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture p
color spread across or stained into the canvas creating areas
of unbroken surface and a flat picture
plane.
More ubiquitous are small rectangular blocks
of solid color, often containing modestly sized but altogether exquisite gestural marks, that seem both to sit on the picture
plane and cut an aperture into it.
Proving the painting's flatness with frontal shapes or
solid stripes must have seemed superfluous or monotonous to him; he wanted movement; he wanted your eyes to dance and skitter across the painting, where the ground might be mottled or
solid, where the shifts
of color and surface pull you closer, where the space between the
planes and vibrate or smolder, where
color intensities vary considerably.
Inspired by European modernism and closely related to Abstract Expressionism,
Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture p
Color Field painting is a style
of abstract painting characterized primarily by large fields
of flat,
solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture p
color spread across or stained into the canvas creating areas
of unbroken surface and a flat picture
plane.
At the same time, Adams's
planes of color — from
solid to dusty to layered — feel illuminated from with; they give off a soft glow (there is that word again, soft).
In doing so, he used multiple
planes of solid color to create the illusion
of depth, space, and movement amid smooth, uninterrupted surface textures.