Sentences with phrase «through form and color»

These works represent Scully's ongoing concern that atmosphere in painting — its ability to convey feeling through form and color alone — can be established by combining simply delineated bands and mostly muted tones, colored or not.

Like the title, the five large paintings and several smaller pieces, made with oil paint on linen, play with perception through form and color.

Diebenkorn's practice is unique in that he deftly marries the flat color and planes of brushwork so lauded by the Abstract Expressionists with representational subjects that are influenced by some of Matisse's visual tropes and his dynamic creation of space through form and color rather than perspective.

Not exact matches

Most of these books come to me from publishers and imprints with a faith - based focus, so at the end of each week I find myself sorting through a stack of freshly printed titles on topics ranging from biblical interpretation, to racial justice, to faith and doubt, to «Christian sex,» in the form of everything from spiritual memoirs, to specialty Bibles, to coloring books.

It sees the truth of any sort of object (say an apple) not as that object itself, in its strange and lovely transience, passing through its various moments of existence (seed, tree, ripened fruit hanging on the bough, fruit eaten or moldering away) but as the unchanging form on which it is modeled (the apple that never shines forth in the beauty of its own color, that has no flavor or fragrance, that has never lived).

The image which one disciple forms of the master is necessarily different from the image formed by any other; it is colored through his «relative a priori» — regarding individuality, temperament, and disposition.

Unlike most amphibians, the mud - colored salamander retained its tadpole form into adulthood, breathed through feathery gills jutting out of the sides of its head, and lived only in a handful of lakes in central Mexico.

Using the worldwide Munsell Color system, Pantone Color Institute offers solutions for all industries where any form of color based assessment is required from science and technology companies through manufacturers to the food seColor system, Pantone Color Institute offers solutions for all industries where any form of color based assessment is required from science and technology companies through manufacturers to the food seColor Institute offers solutions for all industries where any form of color based assessment is required from science and technology companies through manufacturers to the food secolor based assessment is required from science and technology companies through manufacturers to the food sector.

In this lesson − aligned to ACTFL standards − students will apply knowledge of vocabulary related to parts of the body and hair color, demonstrate understanding of descriptive adjectives in plural form, use «tener» in present tense to express appearance, and analyze the literary concept of magical realism through the work of Gabriel García Márquez.

The wellness area creates a calm atmosphere through colors and forms, allowing for complete relaxation.

Still, a nice touch comes in the form of how ingredients gradually change as they pass through the machines, altering in color and form as they go.

We use color and form and translating that into general language is tough but must be pushed through.

By pairing similar colors in close proximity to one another, Dole - Recio creates the illusion of three - dimensionality through shadow and relief, an idea that she explores more directly by layering geometric forms, and by removing sections from the composition, creating both physical relief and negative space.

Through color alone — applied to suspended rectangles within abstract compositions — Rothko's work evokes strong emotions ranging from exuberance and awe to despair and anxiety, suggested by the hovering and indeterminate nature of his forms.»

The precedents of modern abstract art are investigated through works by the followers of Hindu Tantric art (17th century) and the Theosophists (19th century) who used forms - color as sources for meditating and the immaterial transmission of thought.

The paintings and works on paper in this exhibition are highly skillful compositions that radiate color and articulate Lerner's experiences, both interior and exterior, through form, composition and color.

Journey through more than 150 of Cole's full - color original photos, each accompanied by his lyrical and evocative prose, that forms a multimedia diary of years of near - constant travel.

Louden explores color through awkward rectangular and square forms.

Her explorations of form and composition, color and gesture give rise to a compelling language of abstraction where her ideas and feelings about the inner life are projected through organic shapes and energetic brushstrokes.

This print sits squarely within the artist's oeuvre, particularly his ink drawings, which, similar to this year's print, are populated solely by heavy, rough - hewn forms and structures buoyed up from their foundational moorings through Webster's vibrant color choices.

Through Bove's hand, they transform into a group of blue, cylindrical forms typical of her style, which resembles industrial tubing that's been crushed and swathed in bright colors.

Through his play with surface texture, forms and color, Mizù has adopted the representational system of maritime flags and created an abstract body of work that is both visually and mentally stimulating.

Skillfully versed in the language of abstraction, Rossiter instinctively understands the colors» weight through their volume, placement, opacity and form.

Rooted in the language of architecture, Voisine's paintings, prints and drawings convey a sense of shifting spatial interactions through the use of symmetry, color, surface, and precise, hard - edged forms.

«Bushwick Open Studios really strives to give every working artist in Bushwick, regardless of their level of experience or success in the art world, an equal opportunity to show their work to a wider public,» said Hitchings, whose works include a series of pastel colored paintings in which forms and figures seem to bleed through the canvas like haunted photographs.

In all his works here we see the back and forth between what the eye gleans from this world of light, shadow, color, form, people, trees, skies, water and all the elements of objective reality, and what the artist asserts of his feelings, as revealed by gestures, color and movements of paint through actions that depict the artist's inner world.

By way of contrast, the artists represented in this exhibition exploit a purity of means, be that through line, color, or form, to create a complete, innocent, and at times savage, expression in the world.

Taylor's work is bold and bright, often utilizing neon colors and mixing abstract patterns with notes of realism and the human form filtered through the style of the illustrator and comic artist.

His work depicts light and color through a variety of modes, be it free - floating forms, squiggles, and diamonds against textured backgrounds, or geometric and biomorphic shapes.

«What I was doing,» he clarified to Millet, «could well appear as antipainting, whereas what I wanted to show, through the traces or points of impact in a clear surface, was what a painting could be if disencumbered of object, color, and form.»

Meanwhile, «Accord I» (1962) reconciles the grouping of Guston's black forms while still offering richness and warmth, as faint hues of color peek through pewter grey grounds.

The exhibition's chronological installation brings to light intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale.

Artists returned to emotional content conveyed through instinctual mark - making, subjective color, and distorted forms, as found in early twentieth century Expressionist movements, such as Fauvism, Die Brücke and Der Blaue Reiter, and in abstract forms in mid-twentieth-century Abstract Expressionism.

Through gesture, color, and form I can articulate my visual experiences and emotional responses to my life in a physical world.

Hollowell's paintings represent the body as a landscape through geometric form, vivid color and a symbolic language.

The columnar and pyramidal forms of the «buildings» float and turn against a vivid blue sky, with paired complementary colors such as blue and gold, or triads of orange green and blue, that are more absorbing mixed tones than the factory colors of a Rubik's cube, even if some of that idea of shifting through permutations is present.

The painted forms reveal themselves through heightened color, loose pattern, and uncouth texture.

Truitt's work explores the subtleties of light and color through abstract two - and three - dimensional forms and the artist's desire to make light «visible for its own sake.»

This fluidity is emulated in his work through shifting colors and form in his abstract paintings.

Among these are the alteration of color and light through time, the association of vertical and horizontal intervals, the distance between forms and their relativity to scale, the cycle of cluster to interstice to matrix as the seasons change, and the nuance of variation within the geometry of form or growth.

The reduction of details and unoccupied spaces on the canvas bring the imagery closer to the viewers so they can fall further into the painting, pulling them in through color, form and scale.

The work synthesizes oblique references to the body and the landscape on both macro and micro levels through form, color, and material.

One of the artist's most recent avenues for the exploration of abstraction and color takes the form of stripes, realized in 2011 through a piece titled Strip.

The exhibition's chronological installation reveals intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

He not only seeks to communicate content through monochromatic color, geometric form and complex spatial issues, but he also encourages a kinesthetic viewing experience through the surface's response to changing light.

Both artists share an interest in small scale, idiosyncratic color through low fire glazing, and highly considered, reductive forms.

The Beyond: Georgia O'Keeffe and Contemporary Art, May 26 through September 3 Enormous flowers, luscious colors, landscapes, feminine forms, and still lifes.

Through this method, Wittenberg is able to easily make connections to canonical works by way of building and reducing the image, in terms of color, scale and form.

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.