"To view the painting" means to look at and observe the artwork, usually in a museum or gallery setting.
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While there is a tendency to more easily dismiss it, I don't really
view painting as any different than any other medium in terms of validity in contemporary art.
The experience
of viewing these paintings might remind us of a filmed sequence in which a camera slowly closes in on an image of a head.
But while his description introduces an essential shift by insisting on the process of creation as an important element to be taken into account
when viewing a painting, it is not precise enough.
In the paintings from the series, you will see the same
view painted at different times of the day and in different weather circumstances.
Last week's
most viewed paint project was this gorgeous metallic table from For the Love of Decorating.
[laughs] So as a last thing, I'm kind of curious — we talked about having the people
who view your paintings being open - minded, hopefully.
There is also the opportunity to
view the paintings very closely or from across the room, comparing their visual effects.
Remember to
view the paints horizontally on walls rather than vertically — paint a large piece of paper or thin cardboard and move around the room to view in various positions.
Like the so - called Bay Area Figuration of Richard Diebenkorn and Elmer Bischoff, Sheehan's pictures discover abstract formal values
in views painted from observation.
IN AN ERA WHEN COUNTLESS ARTISTS are creating untitled abstract and conceptual work, there is a certain satisfaction in
viewing paintings by artists who not only remain fixated on figures, but also relish the art of naming their canvases.
Kessler add that the viewing digital restorations «isn't the same as
viewing paint on canvas.
In the juxtaposition of some of the artist's most important works — including
rarely viewed paintings from private collections — her maturation and the evolution of her nuanced, much - celebrated sense of color are clearly in focus.
Also view paintings by Dan Namingha in our inventory, along with a great video on the artist by PBS New Mexico:
Upon viewing the paintings at a closer distance, the images begin to transform; the detail starts to appear and the material and form, along with the process, completely changes to give way to the realisation that the paintings are in fact knitted pieces layered together to form an abstract painting, using wool to replicate the process of paint.
Kelsey describes the experience of
viewing painting within the framework of an information and image saturated age, drawing comparison to the constant feed of information one experiences through vehicles like social media.
Viewing these paintings feels similar to watching time - lapse film of rotting fruit or tidal erosion - you can't help but wonder and worry what will become of these landscapes in flux.
Check out the most
viewed paint project from last week... this amazing faux copper topped table from The Interior Frugalista!
When
viewing the paintings freely, the children focused first on the stand - out, «salient» features of the paintings, indicating bottom - up processing.
Reinhardt viewed paintings that resisted relocation as analogous to his own infinitesimally differentiated surfaces, in that both aspired to thwart the easy consumption of mass culture.
Just as we would
view a painted representation of objects within the known world, such as a still life or a face, we anticipate its form, its feel and its purpose, and that has a strong influence how we look and what we see.
Kindred with the Abstract Expressionists and an advocate of pure abstraction,
Martin viewed her paintings as a pursuit of perfection, seeking to imbue every work with a sense of joy and beauty.
Inspired by poetry, particularly by their contemporaries of the Beat generation, Gechtoff, Kelly, and their
peers viewed painting as the visual component of literature, yet unlike their New York counterparts, emphasized this duality through allusions to distant figuration, swirling motifs, spiritual encounters, and visual representations of verbal expression in their paintings.
An idyllic painting by Sir William Nicholson from 1917 of a patchwork of English fields from on high at first resonates with contemporary artist Carol Rhodes's
aerial view painting Airport, until the viewer notices the urbanisation in the later work.
The conventions of two - dimensional representation were undone by painters who no
longer viewed painting as a domain to «reproduce, re-design, analyze, or «express,»» instead regarding it as an «arena in which to act.»
In Richard Prince's work, for example, this fast take can be read as a deliberate strategy to reveal the problematic nature of
viewing painting under the deadening realities of contemporary capitalism — a realization that supposedly prompts further thought.
Only one work shone out of the blur — Florine Stettheimer's masterpiece, Asbury Park South from 1920 (a painting scandalously deaccessioned by Fisk University in 2012) in a group exhibition organized by Jeffrey Deitch that orbited and created a lot of visual noise around it in a manner both consistent with Stettheimer's aesthetic of excess and disruptive of the ability to
properly view her painting.
And in
viewing the painting Cerberus I start to think that the central white shape might resemble a head of the dreaded creature, and then to wonder what might be guarded, i.e prevented from getting out of the painting into the external world, or vice versa.
Owens emerged on the Los Angeles art scene during the mid-nineties, at a time when many in the critical
establishment viewed painting with suspicion.
When the paintings were first shown by André Emmerich in 1965, the critic Phyllis Tuchman recalls, visitors were invited to climb the stairs to Held's nearby studio to
view a painting too large even for Emmerich's spacious Fuller Building gallery.
Featuring key loans from Tate's Pre-Raphaelite collection, including Sir John Everett Millais's Mariana (1851), Dante Gabriel Rossetti's The Girlhood of Mary Virgin (1848 — 9), William Holman Hunt's The Awakening Conscience (1853), and William Morris's La Belle Iseult (1858), the only completed easel painting he produced, this landmark exhibition provides a unique opportunity to
view these paintings next to the work that inspired them.
I
love viewing the paintings and other forms of artwork, and considering how the artists» life influences and inspirations may have shaped the results.
While this body of work may appear like a dreamlike universe, Jones does
not view his paintings as depicting fantasy; they exist in front of the viewer, placed on canvases and paper with skill and thoughtful reverie, as if looking at a real living being.
«Prior knowledge may influence how adults view van Goghs: Adults more influenced by prior knowledge, beliefs than children when
first viewing paintings.»