Sentences with phrase «surface elements of his paintings»

Much of Cy Twombly's more abstract art was based on language and the process of writing, and he would often write narratives that lurked just beneath the surface elements of his paintings.

Not exact matches

By combining data from the three modalities, the researchers were able to map the signatures of molecules and elements across the surface of the painting for each pixel of the image.

They sought inspiration in the era's art, specifically the work of the photo - realists, who painted photographs in a style that is both hyperreal and at one remove from reality — evoked by the variety of reflecting surfaces seen in the film — and the op artists, who deployed contrasting visual elements to create vibrating surface tensions on a single plane.

• Exterior design refined on an evolutionary basis with hallmark styling, proportions and body structure; characteristic design features such as hexagonal radiator grille, headlamps and rear light clusters with wide chrome surround, turn indicator element and peripheral body surround in black reinterpreted and given additional emphasis due to the surface design in each specific area; high - end details underscore the sophisticated nature of the new model; five exterior paint finishes, roof in contrasting colour available as an option at no extra charge.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Despite differences in materials and discipline, both de Kooning's paintings and Chamberlain's sculptures explore the possible treatments of form and color, solid and transparent volume, and surface and depth as continually evolving and merging elements.

Intermittently bright and gloomy, his paintings are characterized by unconventional grade of the constant concentration of pure pictorial elements, as color, surface, proportion, and scale followed by the theories that they could reveal the presence of the philosophical thoughts.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

The trio of support, surface and paint tend always to be addressed in my works, but to varying degrees and with an ongoing interrogation of the role each element plays.

Both qualities are evident in Knight's Heritage, an important transitional piece in which Truitt still employed a brushy texture to define the paint surface and actual grooves to mark the three divisions (elements she abandoned in her later, smoother work) but began to break out of the somber tones of her earliest work and embrace glowing color.

Painted patches of canvas and linen are applied to the painting surfaces to add a specific element of interest and spontaneity, maintaining energy at peak level with unexpected shifts in process.

Collection (1954/1955) is the artist's first «Combine painting,» an early type of Combine that hangs on the wall like a traditional painting but reaches into three dimensions with various elements attached to the work's surface — such as the silk veil over the mirror attached just off - center and the found wood scraps along the top edge.

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

CREDENTIALS: Independent curator; writer of essays and books including Painting Abstraction: New Elements in Abstract Painting and Stephen Shore: American Surfaces.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

In Act Two the elements of reality increase and by Act Three «reality covers the entire surface of the painting.»

His singular techniques — extensive layering of color and collaged elements as well as lacquered surfaces that have been buffed to a dreamlike sheen — make each painting, no matter its size, instantly identifiable as his own.

Jackson's often large - scale paintings blend figural elements of bodies pointing, kneeling, drawing, and playing instruments with colorful abstract compositions and vigorously worked surfaces.

Even the works without collage elements from this time have a feeling of paper cutouts, the paint laid on thickly and in blocks across the surface.

In Meyer Vaisman's paintings the volumetric stacking of canvases or layering of compositional elements, and the ersatz texturing of surfaces - a photomechanical imprinting of a magnified reproduction of canvas weave borrowed from a commercial Letratone ¨ pattern sheet - parody the modernist ethos about flatness and truth to materials.

The materiality of each piece is an essential element of the artist's practice, which becomes evident upon inspection of her painting's multifaceted surfaces.

The brilliance of Untitled [black painting with portal form] is that one can simultaneously appreciate the artist's complex handling of paint across an array of uneven surfaces while acknowledging the ways that the artwork, in its use of newspaper as a formal and almost sculptural element, bridges painting, collage, and assemblage.

Consistent features of his paintings are his interests in color, form, surface treatments and the pure physicality of paint and various collage elements.

These collaged elements — along with images of pillows and a detail from a Baroque relief — are sealed within a clear Plexiglas casing that acts as a support for the surprising array of three - dimensional objects suspended from the work's surface, ranging from tin cans and a spent tube of paint to assorted empty plastic tubes and salvaged wooden chair rungs.

Its meager painted elements consist of thin, mechanically crisp lines and bars of blue enamel, mostly along the edges but also trisecting the surface horizontally.

As with many of the artist's paintings, these materials impart distinct textures and compositional elements that create tension between surface and substrate.

Known for his distinguished use of color and form in his paintings, Sean Scully defies the limits of abstraction at extents that his surfaces — often times composed of various panels — gain sculptural elements.

In contrast to his previous work, where contemporary elements act as incisions into conventional frameworks, here the planes of colour lie on the surface of the paintings as colder adaptations to the underlying image.

Many of the paintings seem to have been exposed to water - damage, with surfaces running, pigments pooling and figurative elements blotted into fleeting fixture.

These are not linguistic signs, but rather the basic elements of painting: lines and surfaces; sticks and stones.

Whilst they are seemingly devoid of a human presence, there remains a subtle anthropometric quality to his compositions; the dimensions frequently relate to the proportions of the body, and his use of elements such as light, heat and mirrored surfaces — made using automotive spray paint on aluminium sheets — allude to, or reflect, the figure.

Unlike fthe ew of the art methods which take away the evidence of an artist's hand, the impasto painting method produces not only a three - dimensionality and high texture of the painting's surface, but it also adds a high element of drama and expressionism to the work.

To achieve these opposing states, her paintings are active and dynamic; bold colors and shapes next to neutralized palettes and detailed scratches in the painting surface; combinations of strong gestural strokes next to figurative elements; raw textured surfaces adjacent to text and calligraphic details.

On first glance these works appear unfamiliar and spatially disorienting, not seeming to align with any recognisable world, but on closer inspection biomorphic and geological scenes start to emerge on the compactly painted surface depicting rocks, trees, houses, traces of insects, birds and other elements native to his surroundings.

Since 1990, Levine has created groups of closed - system paintings that embrace the following elements: off - square painting supports of modest scale and varying depths, small borders to amplify the paintings» complex surfaces, a variety of media (oil, gouache, flashe), and a palette of primary colors.

The cream - colored surface of the work has several very intriguing circular bas - reliefs as well as a boldly painted diagonal element in the center the top of which intersects with a row of gray dots that escalate slightly in size and parallel a large iron rod whose curved tone, like a cane handle, rises above the top of the four large panels.

«A Gap in the Bright» is the first project in Beneath the Painted Surface, a series of three exhibitions that investigate the liminal (i.e. thresholds, boundaries and borderlines) and subliminal elements in the medium of painting and curated by Megan Johnston.

While motifs are shared between the drawings and gouaches, the two bodies of work exist in distinct domains, one furrowed and creased, a progression of elements roughly scored onto the paper, the other a set of color - infused structures residing on the Apollonian sheen of the painted surface.

Brian Truesdale's latest work combines densely painted surfaces with bold marks emphasizing the figurative elements of abstraction.

There is often paint on the surface, which can at times be invisible and at other times obvious depending on the light, another important element of my work.

Selected elements of the painted surface are transferred onto the underside of the Perspex.

By painting layer upon layer of whites and off - whites over silkscreened elements used in previous works — monochrome forms taken from reproductions, enlargements of details of photographs, screens, and polaroids of his own paintings — he accretes the surface of his pressurized paintings while apparently voiding their very substance.

Their creations alter 3D space and time, using lavish patterns of materiality and alternative elements, from slick surface painting to remarkable views of altered graphic relief.

In contemporary painting this focus on elements of culture as well as art history, medium, and surface has allowed abstraction to continue to evolve.

The slug - like painted forms in the two Untitled works appear to devour the formal geometric elements of the painting and one senses that with the passing of time these works will return to the pristine plain white surfaces that existed prior to Ingram making his marks.

With this painting Falsetta moves into new territory by combining elements of what could be several paintings into one surface.

American artists who aren't as high - profile also surfaced during Varejão's thorough investigation: George Catlin, who painted portraits of Native Americans, Llyn Faulkes who intervened the surface of portraits and Paul Thek who juxtaposed the American Minimal aesthetic with more organic elements.

In his later work he began to break down the rules of perspective, bringing each element of the composition forward to the surface of the painting.

His paint handling echoes Modernist stylistic elements of cut and fractured forms that rhythmically activate the surface.

One critic recently wrote that he felt that in all the artists in the first generation there was one element in common: a syntactical conception (having to do with surface, paint quality, a way of acting before the canvas).