Sentences with phrase «still painting the field»

Not exact matches

When Georgia State played in the Georgia Dome, you could still see remnants of Falcons paint on the field, and it never quite felt like home for the Panthers.

And yet as the chalk lines are painted across many a playing field in preparation for sports days across the country, the dividing lines between sport and drama are still too great.

Initial Smarter Balanced field tests showed dramatic drops in English and math proficiency rates and first results — while in many states better than expected — still paint a grim picture.

While many in the animal welfare field still want to paint all breeders with the same low standards brush, I look forward to opening their eyes to the true nature of the breeding business.

In well - lit areas, like the starting open field, the desaturated greens and hollow greys still paint a bleak backdrop for this ill - fated tale.

However, as Hotaling points out, viewers can still feel human presence in his landscapes because agricultural farming has given character to even the remote fields of the rural Ohio that he paints.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

Still was considered one of the foremost Color Field painters — his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces.

Often staining both sides of the canvas, her paintings operate as fluid scrims between still life, color field and pattern and decoration.

It omits Sigmar Polke, whose pop - culture - based, often tawdry paintings are at least a precedent, and Rosemarie Trockel, another female German artist of her generation struggling in a field that was and maybe still is unusually male.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to Color Field painting in the 1950s and 1960s.

Installation photographs of the rooms within the Betty Parsons Gallery in New York, where Still, Jackson Pollock, Barnett Newman, and Mark Rothko first showed their classic works, suggest these artists were accustomed to having their paintings dominate the viewer's field of vision.

He is still the appropriation artist of the «Pictures generation» — and still capable of the irony that preserves the gesture of handwriting or color field painting in a spellbinding copy.

There have been some major acquisitions in recent years (notably of sculpture, such as Thomas Banks's portrait bust of Anthony Addington), the Center still being able to acquire at the top end of the market (other than in the field of paintings).

Thomas at the time looks freer and brighter in watercolor, closer to Joan Mitchell after all, but her own color - field painting was still to come.

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Thicker stripes run diagonally, merging into still broader fields of paint.

Bradley's layers of color and abstract fields of paint feel consistent throughout the show but still experimental with each new painting.

The term stems from Clement Greenberg's 1955 description of the paintings being made by Barnett Newman, Clyfford Still, and Mark Rothko as comprising large fields of color.

Working in pencil upon a thick layer of still - wet paint, the artist traces a sequence of rhythmic, graphic loops, ploughing grooves and furrows into a monochromatic field.

But the question remains, though, once the school field trips come and go, and the novelty of the new wears off, will this museum with its $ 10 admission price be appealing to a public with a millisecond attention span more interested in snapping photos with their smartphones than actually spending a sustained time looking at the paintings as Still wanted?

His sophisticated paint handling allows the artist to be as abstract or realistic as he deems appropriate; the subject matter varies from foreshortened stacks of wood, to cracked and dried dirt - scapes, to WWII airplanes, to still - lives of tumbling bowls and complex fields of gray - scale circles.

Clyfford Still fused the two predominant painting styles of the radical postwar movement, combining the gestural method with the famed color fields technique.

The many choices - field sketching, plein - air painting, portrait, figure work or still life — will all develop your observational skills and instinctive mark making and help the understanding of light and 3D.

The simple, seemingly organic forms of Still's painting and its bold expansive fields of space and color made «the rest of us look academic» Jackson Pollock observed at the time.

The main component styles included: the animated all - over Action - Painting (developed by Jackson Pollock, Lee Krasner); Gestural Painting (developed by Willem de Kooning); Colour Field Painting (practised by Mark Rothko, Barnett Newman, Clyfford Still), and «Hard - Edge Painting» (invented by Frank Stella), most of which were executed on a monumental scale.

Ron Graff has painted still lifes for over forty years and color field and gestural abstractions for the last eight.

«A figurative work painted in 1936 that portrays field workers with oversized hands and arms — a feature common to Still's work at the time.

The show opens with one of most incredible rooms of postwar painting I have seen in a New York gallery in recent years: two huge, pitch - perfect Clyfford Stills, Kenneth Noland and Morris Louis color fields and a breathtaking 18 - foot - long painting by Barnett Newman called Uriel (1955), an expanse of mint green separated from a slice of chocolate by the thinnest of white and black zips.

The circular red ribs that make up the urn - like form of Cherubini's «Morning Star» reflect the looping vase handles and linear flowers in Nichols's still lifes; the figure / field spatial disparity in Bischof's «Omi im Bregenzer Wald» is also found in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's classic study of Philip Guston's late work, published in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum seem to drift above a receding gray and green field, which is bordered in peach - and - gray shards intersecting with black - and - white stripes.

Both Voulko's and Brown's work can be said to contrast with Voulko's own early paintings, more influenced by colour field and Clyfford Still, as is the latter work of Corbett, Dugmore and that of Jon Schueler during his San Francisco period.

These groundbreaking early works, often folded and crumpled while the paint was still wet, stand apart from the typical output of Gilliam's Color Field contemporaries, utilizing canvases with beveled edges that break the 2 - D plane.

Will focus on the current international situation of the non-figurative panel painting with about sixty artistic positions and will fan out the wide field of a still significant painter's practice.

Second, the monumental planes of colour created by Mark Rothko (1903 - 70), Barnett Newman (1905 - 70) and Clyfford Still (1904 - 80)- a style known as Colour Field Painting.

Traces of older methods are still evident as well, able to co-exist with these newer developments, all in all contributing to a diverse selection of works, with physical and spatial differences occurring across all the paintings in this current exhibition, Field.

Briefly: Kanter, though he does not fling paint like Pollock, uses calligraphic black and white marks against the white, non-negative void; Sloane continues his Herculean examination of the darkest, densest fields of early de Kooning; Paulson, darker still, studies the lines between the figure, the landscape, and oblivion (Thompson) like disappearing tracks in the sand.

Critic Irving Sandler named Color Field Painting, because he needed a title for the chapter on Clyfford Still, Barnett Newman, and Mark Rothko in his book The Triumph of American Painting.

What seems like an exquisite exercise in the hybridization of Clyfford Still's Color Field paintings and Lucio Fontana's Spatialism is in truth a metaphor of what Ralph Ellison called the «invisible condition of blackness.»

Toward the middle of the show is Thompson's «St. George and the Dragon,» a big reprise of Tintoretto's treatment in the National Gallery, London, which turns the image into an abbreviated, still scary cartoon, a Color Field painting gone wildly Classical.

These vibrantly coloured urban abstractions operate somewhere between the video still as a «field of information» and abstract color field painting.

Clyfford Still (1904 - 1980) With Rothko & Newman, member of Colour Field Painting style of Abstract Expressionism.

The school embraced several different styles including: Action - Painting (see in particular Jackson Pollock's paintings); the vivid Colour Field Painting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andPainting (see in particular Jackson Pollock's paintings); the vivid Colour Field Painting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andPainting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andpainting of Willem De Kooning and others.

Colour field painting came about as a result of different independent attempts by Still, Rothko and Newman, during the late 1940s, to create an eternal form of art which might transcend the ethical collapse triggered by the chaos and carnage of World War II: a type of painting that would speak for itself.

Out of a combination of influential emigrant Europeans - such as Max Ernst (who married Peggy Guggenheim), the ex-Bauhaus painter Josef Albers (1888 - 1976), and the Armenian Arshile Gorky (1904 - 48)- plus unique American painters such as Mark Rothko (1903 - 70), Jackson Pollock (1912 - 56), and others - came Abstract Expressionism, with its variants of «action - painting» (Pollock and Lee Krasner), Colour Field Painting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (Ellsworthpainting» (Pollock and Lee Krasner), Colour Field Painting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (EllsworthPainting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (EllsworthPainting (Frank Stella) and Post-Painterly Abstraction (Ellsworth Kelly).

Hester Ohbi has been drawing and painting since childhood where she spent and still spends summers amid the rocks, fields, rivers, and mountains of central Pennsylvania.

One of the key exponents of American abstract expressionism, Barnett Newman was associated with Colour Field Painting, along with Rothko and Clyfford Still (1904 - 80).

In her espousal of Pollock's style of «action - painting» and Rothko's and Still's Colour Field painting, Guggenheim played mid-wife to the new American movement of Abstract Expressionism.

In his diary, Anselm Kiefer notes: «this heavy lead bandage that can no longer be detached from the paint skin, these festering sores welling out from the still boiling lead when the pigment beneath it is not bone dry, the little straws on a field that I painted years ago and that appear as charred leavings on the solidified lead — all this reminds me of the Baudelaire poems I reread last year.»