Sentences with phrase «spatial illusions in»

«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.»

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.

Moreover, the spatial illusion in these seven paintings was a deliberate reaction to the strict flatness of so much current work.

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.

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 futurIn 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 futurin 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.