Sentences with phrase «than a painted surface»

Aided with his broad, gestural brushstrokes, vivid palette of contrasting colors which helped to emphasize the rectangular shape, Hodgkin defined painting as an object rather than a painted surface.

Not exact matches

Created in honor of this year's color - themed National Chemistry Week, the video explains why certain objects appear black and how scientists have created surfaces that are more than 100 times darker than black paint.

Monico also used high - powered X-rays to analyse microscopic samples from the painting and found that some of the lead chromate at the painting's surface had turned into greenish chromium oxide, which combined with the underlying yellow to produce a darker and browner hue than van Gogh may have intended.

YAG (yttrium aluminium garnet) lasers emit ten super-short pulses of light each second, which superheat the paint, blasting it off in chips, rather than heating the surface.

It leaves a hint of color over the existing paint surface, and depending on how dark you want the wash to be, you can do more than one coat.

[A] modest, tear - jerking charmer... Just don't expect too much more than what shows on its paint - by - numbers surface.

The bumpers are now powder - coated, with more texture than the average painted surface; and the winch lurking behind the front adds a can - do element.

He was so passionate and determined to express himself, he would risk ruining a painting rather than accept a surface likeness.

Splatoon 2, on the surface, may appear to be a «by the numbers» sequel, but it's inherently more than a fresh coat of paint.

In Turf War, Splatoon's premiere multiplayer offering, rather than competing to reach a kill count, each team tries to cover as much of the map in their paint as possible within a three minute window, with the team that covers the most surface area declared as the winner.

The paint handling is soft; the surface of the linen is rubbed or scraped flat and smooth, but the color is dappled rather than flat, which lends a slightly nocturnal or surreal cast - these may have been painted by day but they were conjured by night vision.

But it is precisely this impenetrability to logical analysis as far as his method is concerned, that quality of the surface which appears as if it had happened rather than was «made,» which unexpectedly reminds us of the most original section of the new painting in this country.

The reworked surfaces suggest a wry, hard - fought romanticism, less about singular expressions than about the sheer eternal struggle with material paint — an impression confirmed by his titles: «Pie Chart Fanfare,» «Wheel of Misfortune,» «Distraction Machine.»

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

When I first saw Katharina Grosse's paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat — that they looked better on the computer screen than they did at the gallery.

His close valued earth colored border paintings with softly brushed surfaces are closer to Marden's work especially in touch than my border paintings were.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

The faded surface of «Corrupt Diptych» is haunting, like the distinct sensation of déjà vu, the dirt and gravel is metaphorical not material, moving this artwork away from hyphenated arts (art - and - environment) towards something more mysterious with its abstract lines that race past the corner of the gallery's gyprock wall; themes of time and movement that have more in common with land art than abstract painting.

It opens to anything... Actual space is intrinsically more powerful and specific than paint on a flat surface» (D. Judd, «Specific Objects», Arts Yearbook 8, 1965).

The paintings are hung salon style on the gallery walls and the only clue that they are made by anyone other than a child is their surface.

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

So does the less than friendly stereotype painted on a fountain's inner surface, such as booze for a Native American and the threatening face, at least to white eyes, of a black.

The artist does paint portraits, but the figurative work shown here celebrates gesture, line and surface more than the likeness of the sitter.»

Style comes into question more in this genre than any other, because the paintings are topical — what you see on the surface, its stylization, its aesthetics, all contribute to the imaginary.

But in his own painting, he literally rusts the surfaces rather than just painting them to look like rust.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

After I had children my life began centering around our home much more, and the order and design of each room and its surfaces became this impossible ideal in my mind that was easier to mock in painting than to actually try for at home.

Rather than drawing a picture, the paintings literally become surfaces — of the earth, mud, sand or even ripples of water.

For more than four decades, Vija Celmin (Vee - ya Sell - min) has worked late into the night obsessively drawing and painting her most beloved subjects, the dark sky, the surfaces of the ocean, the moon, and the desert, without horizon or perspective.

Moreover, because the White Paintings all emerged from a single concept and each painting's surface is basically indistinguishable from that of the next, the tendency, understandably, has been to treat the White Paintings en bloc, rather than as individual pieces.

Four of the paintings in the show are encaustic on newspaper; Johns revives the ancient technique of wax - painting in a way that again calls attention to the surface, which is both veined and suave, almost like skin over membrane, rather than harsh and rough like the surfaces of the abstract expressionists (or for that matter, Rauschenberg's surfaces).

The surface of Goltzius's Hercules and Cacus appears as flat as the Giotto, and it takes a proper look to confirm that the copies are painted rather than screen - printed.

In his stack paintings, however, rather than project associations, Gorchov simplifies the relationship between surface and structure in regard to a formal reading, and alters the height of each monochromatic panel so that viewers read each color in equal increments.

The two - minute version, he says, would be that Greenberg favored «purity, formalism, flatness, overall design, and surface incident» in painting while Rosenberg argued for «the action of the artist on the canvas and the notion of the creative act being the most important aspect of art making, rather than the product.»

And yet it's much easier to perceive those qualities in the heavily worked and worried surfaces of Rauschenberg's art of the 1950s than it is in most of the Abstract Expressionists» paintings.

The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.

For Joe Goode, these nearly metaphysical, black paintings also contain violent slashes through the canvas that brings attention to the surface of the painting while adding a sense of painterly depth as the shadow cast behind the canvas becomes blacker than the painting itself.

Marlene Dumas» practice is two-fold: on one hand conveying politically potent messages that are more often than not critical, and on the other being deeply concerned with the surface, aesthetic potential of paint.

Contributing to the luminosity of his paintings is the fact that Jenkins primes his canvases, allowing his poured pigments to pool and flow on the surface rather than soak in.

In addition to joining parts with epoxy glue rather than kiln firing, he slashed and scraped his surfaces, decorating them with epoxy paints and ceramic glazes in vigorous brushwork à la Kline.

His surfaces were more raw and immediate than other abstract expressionist paintings.»

Along with others active at this time, these three artists questioned, for example, whether a painting had to be a flat, rectangular object mounted on a stretcher, affixed to a wall, and viewed from one vantage point; that paper was only a surface to be painted, printed, or drawn on, rather than a medium for creative manipulation in its own right; or that there was only one way for a work of art to be installed.

Rather than seeking absolutes in truth and beauty, they are undogmatically propositioning the significance of the painted surface.

The Horizontalists distinguish themselves as a group from the «Bellport School», which pours, paints, drips, scrapes, and abrades pigments on horizontal surfaces as they bear down from above onto floors or tables rather than on easels or walls.

Rather than using paint to depict skin with observational exactitude, Brown presents translucent brushstrokes revealing the flesh and muscles beneath the surface.

Now, one of the things that's also striking, is that in «Look Mom,» you get these opaque surfaces, certainly less atmospheric than others ones, and you begin to see a clarification of the physical parts of the painting other than gesture.

The painting was understood as an object, rather than the surface recording the soul and emotions of the author.

As this image suggests, the surface of the painting was originally more matte than it appears today.

In some way these incidental glitches add to the paintings» mystique of customized handicraft, but more often than not they just interrupt the surface polish and overall flow of the image.

The destruction brought to a work like Speechless (2013)-- the scraped and gouged surfaces punctured by the blanked - out faces of unidentifiable persons — is disturbed more by the buffed gradations and soft, whimsical applications of paint than the frustrated violence brought to bear on the pictures.