Sentences with phrase «study of color theory»

It is in this phase of work that the influence of her artistic heroes Henri Matisse, Josef Albers and Wassily Kandinsky, as well as her study of color theory, began to fully develop.

Color was the basis of her painting, undeniably reflecting her life - long study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.

The artist's background in neuroscience and study of color theory both support and stimulate the nature of the work she creates.»

Not exact matches

«We wanted to create a space where people were happy coming in to work,» says Longin, who previously studied psychology and color theory at the Art Institute of Chicago.

The results of the Yale study provide an detailed history of color terms across a large language sample, say the researchers, and show that there is broad support for the color terms defined by the Berlin and Kay theory, which maintains that the world's languages share all or part of a common group of color names, and that terms for these concepts evolve in a specific order.

If you didn't go to school for design or studied color theory, then odds are you select colors for your learning content based on the presets of your development tool.

Her research is on race and ethnic studies in education with a theoretical focus on critical race theory, critical whiteness studies, critical pedagogy and feminism of color.

Shanti Curto is a wife, mother of two beautiful boys, and an artist who has studied photo - realism and color theory.

He progressed to graduate study at Yale University, at a time when the place was turning out art stars by the boatload — Richard Serra, Sol LeWitt, Robert Mangold, Judy Pfaff and many others came out of the Josef Albers class on color theory.

Both Anuszkiewicz (who studied with Josef Albers) and Wurmfeld, whose exhibition I reviewed on April 14th, make optically dazzling, hard - edge paintings that owe something to the scientific, research - driven engagement with color that goes back to Georges Seurat, the study of optics and the rise of color theories.

A native of Massachusetts, he attended Phillips Academy in Andover and earned a BA from Princeton, where he studied art and color theory with Josef Albers and Hans Hofmann.

While reading Goethe's Theory of Colors (Zür Farbenlehre), he began to construct color diagrams based on his studies.

Pastine became interested in color theory through the work of chemist Michel Eugène Chevreul and his systematic study of color perception.

Motherwell speaks of his relationship with his parents; attending prep school; studying philosophy at Stanford University and Harvard University; his theory of automatism; European and American painters in post-war New York; teaching at Black Mountain College; teaching at Hunter College; his retrospective at the Museum of Modern Art and other exhibitions; his collages with Gauloise cigarette packages; the photograph The Irascibles; his membership in American Abstract Artists; his marriage to Helen Frankenthaler; his use of color and light in his paintings; spending summers in Provincetown, MA; beginning printmaking; playing poker; working with the art dealers Kootz, Janis, and Frank Lloyd of Marlborough; his series Elegy for the Spanish Civil War, Je t «aime, Beside the Sea, Open, and Lyric Suite.

Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers's contribution to color theory and brings the artist's iconic study to an eager new generation of readers.

Additionally, anyone who has gone through a post-secondary fine arts program probably has a tale or two of Op - ish projects created during color theory studies.

Coming out of undergrad at Connecticut College, where I got a dual degree in art history and French, and then finishing grad school in 1998 at NYU, where I concentrated on critical theory and American studies, I never imagined having the opportunity to work with the mentors I was fortunate enough to have in the years that immediately followed — namely, Lowery Stokes Sims, Thelma Golden, Karin Higa, and Li - lan, all profoundly brilliant and creative women of color.

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991

Having studied at Hunter College in New York, Pastine is well rooted in color theory and fully understands the interaction of adjacent colors that yields great illusory effects, giving her paintings a lot of push / pull and maximal vibration.

Focusing on the landscape of eastern Oregon, specifically the plateau region, workshop participants will study color theory, hone skills in ink modification and mixing, learn control over ink films, paper properties and proper handling techniques, printing techniques and various registration methods.

I studied Joseph Albers with a student of Albers, and I believe you must study Albers color theory to understand his paintings.

There is a strain of painting that originated with Georges Seurat, which focuses on the study of optics and various theories of color in an attempt to understand how we see the world.