Sentences with phrase «square white canvas»

At Gavin Brown's Enterprise, the artist Jonathan Horowitz organized a project in which 700 attendees were asked to paint a circle, in black, on a pre-stretched square white canvas.

Gaze, by contrast, presents a ghostly triangular form that hovers on the square white canvas, bringing one in close to seek the source of the discoloration.

Not exact matches

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He was making truly the perfect square, in white thinly but palpably applied to canvas.

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

Celacanto Provoca Maremoto is a mural covering four walls, made up of 184 painted canvas panels — white - and - blue squares that recreate original tiles the artist photographed, depicting parts of angels, wings, and other decorative motifs, as well as the texture of cracked tiles.

Their rarefied atmosphere is circumscribed by rigorously defined and scrupulously observed parameters: Levine paints only with primary colors and white, each monochrome is contained by a razor - sharp border of raw canvas, all of the pictures are minimally off - square.

A black square on a white square seems to have undergone a seismic shift, but its top is just additional canvas folded over.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

The canvas is mostly covered in the artist's typical thin, horizontal washes of color, but also contains uncharacteristic geometric abstractions such as the off - white square referred to in the title.

The influence of modern masters such as Henri Matisse and Piet Mondrian can be seen in works from the 1980s, such as Matisse (1989), a white and dark blue shaped canvas with a geometric motif, and Little Mondrian (1985) and Sliding Square: Green and Gold (1975), which are made up of rectilinear forms.

In some of the paintings, the room looks like a bedroom (it was a converted attic); in others, like Peter's Sitters 2 (2009) or Peter's 3 (2007), it looks like a modern gallery space, with its low white ceiling and mirrored squares like canvases.

His 1918 Suprematist Composition: White on White featured a white square set at an angle within a canvas painted a very slightly different shade of wWhite on White featured a white square set at an angle within a canvas painted a very slightly different shade of wWhite featured a white square set at an angle within a canvas painted a very slightly different shade of wwhite square set at an angle within a canvas painted a very slightly different shade of whitewhite.

Agnes Martin, a small painting on canvas featuring a painted white square and a series of horizontal pencil lines, is a good example of this.

The same year he began exploring the idea of monochromatic canvases — a series of acrylic drawings consisting of white and off - white squares arranged into groups of three to five panels — but tabled the idea a year later to focus his attention on paintings organized around a nine square grid structure.

Sol LeWitt cleanly tears a piece of white paper into stark geometric sections in R115, 1973, generating an elegant composition with a simple gesture, while Robert Ryman defamiliarizes the monochrome in Untitled, 1967, a white - painted canvas square affixed directly to the white wall with masking tape.

A recent picture confirms the classic Ryman cliche: It's a white - primed canvas, 14 inches by 14, with a glossy white square painted on top reaching almost to its edges.

Off White Square (1973), above, is a monumental canvas measuring roughly twenty - five feet in width.

Here, gesso on a square canvas, pencil lines, and blue and white add up to an infinity of nuances, triggered by protracted looking.

Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.

Two of the artist's four paintings in the sale — a black - and - white «Little Electric Chair» and a signature square canvas with four flowers — didn't find takers.

The almost square canvas, showing the same image four times (on white, blue and red backgrounds), had once belonged to artist Robert Mapplethorpe.

[citation needed] For his first New York City solo show in 1973, Buren suspended a set of nineteen black and white striped squares of canvas on a cable that ran from one end of the John Weber Gallery to the other, out the window to a building on the other side of West Broadway and back.

They include two of Josef Albers's signature nested squares, a 1998 piece by Robert Rauschenberg, and a 1966 canvas by Alma Thomas, the first African - American woman artist represented in the White House.

Towards the bottom left of the canvas, Cohen has left a very small square of the white ground showing, which reads clearly as a door or an opening out of the forest.

Commonly regarded as a Minimalist, Robert Ryman's work explores the manipulation of painting media, often in white or off - white paint on square canvas, to expose the face - value materiality of the applied substances.

The Russian Suprematist painter Kazimir Malevich made canvases of pure form and color, like black squares on white backgrounds, or what he termed «Suprematist Compositions» of varied forms floating in space.

In no title (1973), six interleaving canvases appropriate the unfurling Fibonacci spiral mathematical diagram in a tiling, each white square canvas roughly doubling in size.

Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while harnessing the nuanced effects of light and shadow to animate his work.

People were paid $ 20 a piece — in the form of a number check drawn by the artist — to sit at one of several tables and, using materials provided, paint a black, eight - inch - diameter dot on a white, 12 - inch square canvas.

Nor did he create elegant perceptual conundrums out of solid black squares like Ad Reinhardt, nor structural pronouncements about what constitutes a painting, which is what young Frank Stella articulated with a 1958 - 1960 series of black - and - white striped canvases.

His color, now blazing, now gently softened, now sounding in resonant combinations, is the source of both form and light, holding within its brilliant transparencies darker gradations which convey limitless depth, at the same time allowing the white light of the canvas to shimmer through to the surface... slashing oranges cut across the pink and blue of partially squared area -LSB-...] with the more complex imagery of Queen II and III, in which figures with ritual connotations are implied in rich color schemes of red, blue, green and ocher with white.