Sentences with phrase «surface space of the canvas»

Specifically, this refers to Poons's regulated application of abstract brushwork combined with a seemingly spontaneous choice of color, which fills the surface space of the canvas, producing a low level optical sensation.

Not exact matches

Its rigid compositional attempt to define a rational space is undermined by the floating figures and particularly by the raw application of paint, which sits on the surface of the canvas and reminds us of its autonomous nature as scraped pigment.

An approach known as layering — the clever utilization of space through the structuring of lines and surfaces into layers — provides a natural canvas for the hallmark BMW driver focus, but is careful not to exclude the front passenger from the action.

In her introduction Samet notes: «Although Gilliam is best known for his «Drape» paintings — unstretched canvases stained in vibrant pigments and extended into three - dimensional space — the surfaces of the paintings he has made over a fifty - plus - year career are actually quite diverse.

The work was celebrated at the time for the sheer velocity of movement with which the eye roves the canvas, pointing to de Kooning's interest in creating simultaneous foci, what art historian John Elderfield describes as «multiple centers of interest, and therefore a continual distraction, of vision being shuttled about the surface, so that it may rest anywhere but can settle nowhere» (J. Elderfield, «Space to Paint,» de Kooning: a Retrospective, Museum of Modern Art, New York, 2011, p. 25).

The evenly dispersed natural light that fills the exhibition rooms not only presents Still's canvas surfaces in the most compelling and truthful way; the gentleness of the daylight also enlivens the senses as visitors move through the variously proportioned spaces.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

But Borremans» style, its inherent drama, the way his subjects clog up the frame, the way they somehow seem to exist in a space between the surface of the canvas and the trompe l'oeil illusion, owes more to painters of prior generations, like Manet, Velázquez, or Caravaggio.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

Pollock, Krasner, de Kooning, and others obliterated the very distinction between painting and drawing — or among the flatness and symmetry of canvas, the shallow space of its painted surface, and ideal, infinite space of vision and representation.

Done on unbleached canvas, while leaving the bottom half of the painting untouched, «Abstraction» (2002 - 2015) hovers between being a brown cloth surface on which paint has been applied and a deep space terminating at a far wall.

According to the info posted on her previous gallery's website, Wanklyn «has long been interested in the relationship between form, shape, space, the limitation of the canvas surface, the idea of speed and the mechanism of memory.

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

Rather, the space is lit by diffused natural light, which intensifies the intimacy of looking at Martin's painting: the subtle variations of the pencil lines, the thin washes and layers of paint that seem to sit on the surfaces of stretched canvas.

The negative spaces that dapple the surfaces of her canvases mimic seemingly endless voids.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

An enduring feature of Kusama's unique art is the intricate lattice of paint that covers the surface of her Infinity Net canvases, the negative spaces between the individual loops of these all - over patterns emerging as delicate polka dots.

In his Buchi (holes) cycle, begun in 1949 - 50, he punctured the surface of his canvases, breaking the membrane of two - dimensionality in order to highlight the space behind the picture.

This led him in 1958 to visit the Venice Biennale: the experience of Lucio Fontana's slashed canvases, which dramatically introduced the element of space into otherwise flat surfaces, was succeeded by direct contact with Piero Manzoni, whom Fabro met when he moved to Milan in the following year.

The work is constructed within a system and through this system of criteria and boundaries a freedom emerges enabling the illusion of openness and space within the surface of the canvas.

He has rightly been regarded as a consummately perceptual painter — the interaction of the dots covering his canvases makes the most out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion of space seeming to change, like the surface of a mosaic, as you move from side to front to side.

In close proximity to his canvas works, Amm's wall and sculptural pieces project his deftly constructed compositions from the surface of the canvas into the multi dimensional space of architecture.

Leaf consists of a six - by - six - foot primed canvas, the surface of which is divided with 255 horizontal and 71 vertical pencil lines, creating a geometric web of small rectangular spaces.

Fontana will be represented by a focused survey of his nearly five - decade career, spanning his earliest Spatial Concepts, in which small canvases evoke immense galaxies through swirling fields of paint subtly embedded with small stones and broken glass, to his famous Attessi, or cuts, in which the artist has used a sharp knife to literally slice through the canvas surface into another space.

Inspired by the idea and reliant on the money, Basquiat prepared for New York / New Wave by producing more than 20 drawings and paintings in a very short space of time, using a wide variety of surfaces: metal, rubber, paper, canvas and wood.

silver deposit and acrylic on canvas The surfaces of Jimi Gleason's paintings have always responded to both the light and space of the environment they are in.

You may know Lucio Fontana as the Italian painter whose slashed canvases echoed the devastation of World War II while violently activating the space behind the surface.

The latest installment at Centre Pompidou Metz seeks to be the sum of the artist's early meditation on painting, where the surface of the canvas is intuited to become a mirror that wraps identity, space and time; and where brushstrokes are destined to dematerialize into a splitting of light.

Fontana, whose slash and puncture «spatial concept» canvases made the radical statement that the surface of a canvas could be extended into the surrounding space, has long been lauded as one of the key figures in post-war European art, while Accardi's paintings of brightly colored signs painted on canvas, and later on «sicofoil», were widely known in Italy but were not exhibited extensively elsewhere until more recently.

Employing oil, acrylic gouache and ink on canvas or linen, the artist builds coats of intensely hued pigments and then deconstructs the surface; creating translucent layers which evoke space and dimension.

The surface can not be confined within the edges of the canvas, it extends into the surrounding space.

According to Sarah Whitfield, curator of a 2000 survey of Fontana's work at the Hayward Gallery, London, «Contained within the uniformly egg - shaped canvases, these scarred and demolished surfaces appear extraordinarily calm... By containing the turmoil of cosmic terror within an image of fertility Fontana creates a space where the most distant polarities finally meet and close together.»

They evoke space and suggest a bond between the inside and outside by extending the charcoal lines to the top edge of the canvas and presumably beyond, directly challenging the formalist orthodoxy that defined painting as a self - contained object or surface.

A stack of evenly spaced linear pencil lines descends diagonally across the surface of the «raw canvas,» echoing the tilted orientation of the longest turquoise band, which cuts across the painting's upper right hand corner, «affixing» it to the ground (or what can be read as wall) beneath.

The delicate veil of painted swoops and swirls that sweep across the surface extend to all edges of the canvas, suggesting the continuation of the net into the space beyond the painting.

I see the canvas as a surface of many voices, as I wish our society could be, a space where diversity can coexist.

Like trenches running through the artist's formulated landscape, the repeated series of horizontal and vertical demarcations of pictorial space convey Bradford's methodical physicality, their edges projecting outwards from the canvas ground, conferring a striking three - dimensionality to the surface.»

It is in this tension where the surface of the canvas provides a stark contrast between impulse and order, hard edge to soft, as if there are two paintings within one struggling to occupy the same space.

The paint texture, marks and subtle variations in color, and bleeds / drips / rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the «skin» covering the flat canvas.

In other words, the space is generated within the acknowledged limits of the two - dimensional canvas surface.

Although the color and canvas are bound together on a totally flat surface, our eye moves, in her words, «miles back and forth» through the fictive space the artist creates out of her large, open washes of color.

The canvases push color towards a third dimension — the space outside the canvas — in the form of light emitted from its surface.

Frank Stella has been recognized for his artistic innovations since the age of 25, when he cast aside the concept of creating illusionistic space in his canvases in favor of privileging flat surfaces.

Accordingly, Grosse seeks to pictorially open up and dive into the space and surface of the images, contesting the two - dimensional quality of paint on canvas.

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

In literal terms the painting was made as a simulation of Matta - Clark cutting through layers of a building, more formally the canvas surface is not only a two - dimensional picture plane but expands into space and becomes a physical thing.

Grids of bright color on the painted fronts of the canvases create retinal effects like moiré patterns, and the suggestion of visual movement and space, but those surfaces are often interrupted by a reordering of the parts of the painting.