There are openings to other spaces, bathed in light or cloaked in darkness, but
the spatial illusion in his paintings is fused to a sense that the entire picture surface is leaning up against the picture plane, pushing into our world rather than receding away from it.
Moreover,
the spatial illusion in these seven paintings was a deliberate reaction to the strict flatness of so much current work.
By 1968 he was teaching at the University of Massachusetts and had become increasingly interested in making paintings which manifested an energetic presence and
spatial illusion in front of the picture plane.
«The [Butterfly] paintings themselves are hard - edged
spatial illusions in rich gradations of colour that appear to expand and contract... Grotjahn actually riffs from the whole range of abstraction: Malevich, Mark Rothko, Ad Reinhardt, Frank Stella, Brice Marden et al... Grotjahn is actively encoding references including pop psychedelic associations.»
Not exact matches
Howard Hughes Medical Institute scientists at The Salk Institute have discovered a new class of optical
illusion that they have studied
in detail to show that humans use both the timing and
spatial...
Following
in the tradition of Jackson Pollock, whose drip paintings finally broke the bond between painter and canvas, and Frank Stella's Black Paintings which discarded the need for
spatial illusion, Judd makes the next, unassailable step of taking art into a new dimension — a dimension
in which it could finally achieve the full potential of creativity.
He went through his black and white phase, and came out the other side
in the late 1970s making paintings and prints of utter clarity, but which reintroduced colour, built up paint
in low relief and explored once more the
illusion of three dimensions, suggesting volume and
spatial depth
in what could look a little like a late - century and cheerier abstract take on Giorgio de Chirico's bleak city centres
in lovely, hard colours.
In these works, Dubuffet carefully uses a range of scales to create
spatial illusion.
His work explored a painterly paradox
in which pictorial
illusion and
spatial perception grapple.
This formal tension between colour and form results
in an ambiguous field of
spatial depth and
illusion, as seen
in Sin Título (Untitled), 1955.
Visiting Robert Ruello's third solo exhibition at Inman Gallery, I was reminded of the term «abstract illusionism,» which critic Barbara Rose coined
in the late 1960s to describe painters using trompe - l'oeuil devices to create
spatial and other pictorial
illusions in non-representational painting.
With these works — razor - sharp depictions of abstract, brushily painted, sculptural tableaux, for the most part — not only does one struggle to identify the medium, but the compositions traffic
in shadowy
illusion and
spatial ambiguity, making it hard at times to know exactly what is being portrayed.
While both T12239 and T12243 demonstrate the artist's practice of using crossing lines to suggest surface and
spatial illusion, the
spatial complexity of T12239 rests on the manner
in which the grid has been fragmented into an array of square details that abut one another.
In the process, he realizes his visual manipulations in a variety of ways: he creates computer images, photographs or silkscreens through to whole room - filling installations which represent still lifes, spatial illusions and visions of the futur
In the process, he realizes his visual manipulations
in a variety of ways: he creates computer images, photographs or silkscreens through to whole room - filling installations which represent still lifes, spatial illusions and visions of the futur
in a variety of ways: he creates computer images, photographs or silkscreens through to whole room - filling installations which represent still lifes,
spatial illusions and visions of the future.
Krebs, too, works with gradations of light and dark hues
in spatial relationships, often using combinations of rectangles, squares, and ellipses methodically plotted out
in works that border on optical
illusion.
Austrian artist Peter Kogler is interested
in spatial illusion, projections, brains, ants and creating projections of graphic environments that give the
illusion of changing a fixed environment to generate an emotional response from the viewer.
Even among the growing number of painters inspired by a mingling of
spatial illusion and surface event, Saulnier reveals an acute sense of impunity
in his work.
«So Pasmore,
in spite of his abortive pursuit of pure abstraction, joined the ranks of the British semi abstract painters, Lanyon, Hilton, Scott, Hodgkin, and others, who can not commit to a full hearted abstraction, but
in their irresolution on the question offer succour to all those who hold on to that naturalistic
spatial illusion, or hints of such, that keeps their work linked to the old English traditions of poeticised landscape reference»
What I'm trying to say is that the «triggers» (good word) of the space
illusion are only going to work because they are associated with a particular type of
spatial sensation
in the real world, so that the illusory space that is evoked is actually tied to that particular
spatial sensation, making the pictorial space at least
in this sense figurative.
Sometimes, we think we've identified a reference or come to terms with particularly complex
spatial inventions, as
in the Babylon series,
in which compressed columnar forms with unstable perspectival
illusions suggest tall buildings.
Rail: Because
in a way they do seem related to the early paintings
in the sense that they create these
spatial illusions.
The title of the present work For Picabia perhaps references Stella's «preoccupation with wiping out Cubism, whose vestigial
illusions of luminous, layered spaces he hoped to replace with another, fresher kind of
spatial construction» (Robert Rosenblum quoted
in L. Rubin, Frank Stella Paintings 1958 to 1965: A Catalogue Raisonne, New York, 1986, p. 11).
An early rudimentary form was Cubism, specifically analytical Cubism - which rejected linear perspective and the
illusion of
spatial depth
in a painting,
in order to focus on its 2 - D aspects.
As is typical for paintings from this period, the present work is characterized by the colliding of flatness with the
illusion of
spatial depth: while the folds
in the tablecloth, modulation of the oranges and the cast shadows articulate Hockney's eye for veracity and imply three - dimensionality, the broad, simplified brushstrokes with which the gladiolus and the green backdrop are rendered essentially flatten the composition.
His paintings» familial resemblances reside foremost
in size (small), surface (matte, brushy), color (saturated), edges (hard, but unruled) and
spatial illusion (not much).»
The title of the present work For Picabia perhaps references Stella's «preoccupation with wiping out Cubism, who's vestigial
illusions of luminous, layered spaces he hoped to replace with another, fresher kind of
spatial construction» (Robert Rosenblum quoted
in L. Rubin, Frank Stella Paintings 1958 to 1965: A Catalogue Raisonne, New York, 1986, p. 11).
«Grotjahn's abstractions are,
in relation to traditional pictorial modes, a matter of having your cake and eating it too, of experiencing vertiginous
spatial illusions only to be brought back to the level ground of modernist flatness - only then to have the picture plane once again yield to the probing eye,» curator Robert Storr wrote
in LA Push - Pull / Po - Mo - Stop - Go.
The qualities and intentions attributed to Denny's paintings, of an interactive dialogue between the observer's perception of quotidian architectural space within which they meet the painting and the
spatial illusions created by the paintings themselves — are actually qualities Denny had imbibed from Barnett Newman,
in his paintings and his professed intentions (amongst other qualities)-- and so, to denigrate Newman's (and Rothko's) as subjective, «private» visions is completely unwarranted, but it chimes with Bunker's wish to portray «publicly engaged» art as somehow an advance on «high modernist» subjectivity.
Grotjahn has become widely recognized for his «butterfly» paintings, which experiment with one - point perspective, a technique developed
in the Renaissance to create an
illusion of depth, but which Grotjahn sets slightly askew to create paintings that combine elements of geometric abstraction and shifting
spatial illusion.
The presence of higher
spatial resolution information
in the regional models, beyond what can be accomplished by interpolation of the global model output to a finer grid mesh, is only an
illusion of added skill.
However, type 4 downscaling, while providing the
illusion of higher skill because of the high
spatial resolution climate fields, has never shown skill at prediction beyond what is already there
in the parent global model.
The mechanics of the models produce regional scale results, but, until the multi-decadal regional predictions of changes
in climate statistics can be shown to be skilful, the added
spatial resolution provides an erroneous
illusion of skill.