Sentences with phrase «used as an abstract painting»

Edward Avedisian's Normal Love # 1, 1963 is an involving image of a zygote breaking off from two gamete cells, a biology illustration used as an abstract painting with warm and somewhat passive colors.

Not exact matches

Using our easy to replicate abstract painting instructions — pumpkins will quickly come to life as their own little works of art this fall.

In addition to pieces of ochre that appear to have been engraved — the oldest such abstract art in the world — archaeologists have found tool kits that included abalone shells used as containers to mix ochre with crushed bone, charcoal, quartz and other material to make paint.

You can see that from the lock screen, which uses the same abstract oil painting image as the Note 3.

Artist Sandra Lauterbach uses fabric as her paint and needles as her brushes to create abstract designs.

In 1965 he painted thin plywood reliefs, with stretched canvas as surface, and three years ago he used plywood, minus canvas, with a painted abstract surface.

Meg Lipke and Sangram Majumdar use plants as a vehicle for abstract paint handling.

As an abstract expressionist, West often used hard edged and bold brushstrokes in her paintings.

Jeff Elrod (American, b. 1966) creates abstract paintings using basic computer software as a starting point for his artistic process.

She used these manufactured setting as still - lifes, transcribing them into larger scale oil painting of abstract space - scapes.

As in his earlier Storm paintings where scraping gestures that erased figurative components became central to the composition, Cooke again uses abstract elements as building blocks for his new worAs in his earlier Storm paintings where scraping gestures that erased figurative components became central to the composition, Cooke again uses abstract elements as building blocks for his new woras building blocks for his new work.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

Using a palette of the same four colors, Cranston reworks an abstract painting by one of the key figures in Modernism, Swiss / French artist, architect and designer Charles - Édouard Jeanneret, better known as Le Corbusier (1887 - 1965) in six variations, identical in form and composition but in different color combinations.

Echoing lessons in abstract expressionism, Benfield used a cell phone as an icon to drive her painting.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

«Northern Village» is one of the many paintings Klee created that demonstrates his use of the grid as an abstract way to organize color relationships.

Lerma uses layers of figurative as well as abstract elements, charcoal and colours, text, the blank canvas and smudges of paint to create vibrant, erratic compositions in which you recognize cartoonish figures, mysterious calligraphic signs, and vegetal varieties.

She currently has work in a group show at A.I.R. Gallery in Brooklyn called Another Gesture / Um Outro Gesto / Eine weitere Geste /, which «moves away from the dominant male legacy of abstract expressionism, in which gesture was used to champion the uniqueness of painting as a medium.»

Use the strong lines in this electricity tower (photographed from below) as the starting point for a geometric abstract painting.

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.

Hugo McCloud (b1980, Palo Alto, California) is known for his large - scale abstract paintings that use materials such as tar paper and metal, and engage with traditional woodblock printing techniques.

Adolf Gottlieb, the Abstract Expressionist, used bursts of red pigment as image and as structural element, while Josh Smith now churns out messy abstract paintings like child's play — or like an emerging artist's assembly - line product.

Silver's goal as an oil painter is to freely use color and shape to create abstract paintings that he transforms into imaginary landscapes.

Jasper Johns (born 1930) made his major breakthrough as a painter in the mid-1950s when he started using iconic, popular images in his paintings — an explosive move at a moment when advanced painting was understood to be exclusively abstract.

In the end I decided to use just the tree bark and the smooth white stone, without any of its underside, as the basis for an abstract painting.

Using a variety of different materials such as spray paint, foil, ripped paper, and even hydrocal, Anthony Pearson crafts abstract artworks.

Through abstract paintings, such as Abstract Painting No. 20 (1942), many of which use forms from landscape, he sought to portray a binding and healing conception of the universe and to make the sublime visual.

He used to say, «There is no such thing as representational painting and abstract painting: there is only intelligent painting and stupid painting.»

At a time when we have become desensitised to an image - saturated world, Tony Swain (born Northern Ireland, 1967) uses familiar sections of newspaper that are pieced together as a support for paintings of fragmented landscapes and abstract patterns.

Schnabel used abstract expressionism as one point of departure for his own work and almost singlehandedly brought expressionist painting back into the fore earlier in his career.

Yet sometimes, as in the early series of paintings, using the shape of a pitched tent, the abstract pattern can seem loaded with meaning.

In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting by using the medium to develop an idea that typically gets worked out over the course of an ongoing series.

She often compares the rhythm of her painting as akin to weaving in which she uses representational elements made of paint, textiles or plastics to build abstract paintings where each element is recognizable but does not behave as it should.

APEX (b. 1978, San Francisco, CA), also known as Ricardo Richey, is a street artist who creates colorful abstract patterns through the use of spray paint.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Often playing with images and materials associated with beauty and desire, Hamilton repeatedly uses sculptural cut - outs of film stills or women's legs made from transparent plastic and wooden shapes based on Modernist depictions of female nudes such as the curvy abstracted figure found in her 2007 piece The Piano Lesson, based on Fernand Léger's 1921 painting Le Grand Déjeuner.

Every day he is garnering more and more attention with his shadowy abstract paintings created in rather unique and unusual manner, using unconventional materials such as lipstick, drywall mud, dirt and even lidocaine.

With the artist's subtle use of different shades of paint, as well as his careful attention to the variegated surface of the canvas, the painting stands as a successful intervention into the terrain of abstract expressionist painting.

In her painting practice Earnest uses unconventional materials such as aluminum tape, carpet fuzz, insulation, drywall tape, cement, contact paper, latex gloves, and joint compound, and she seeks to explore how abstract spaces such as «home» can be defined through the complex relationship between objects and memory.

Mark Bradford used abstract painting as an architectural intervention, literally transforming the building for this installation «Tomorrow is Another Day».

except, art «fans» do use painterly or hard edged or tron to describe or recommend abstract painting, and in an exactly analogous way as music fans.

In the confined space of his East Hamptons studio in Long Island, Pollock used the drip painting method as a way of touching base with his subconscious in the spirit of what became known as abstract expressionism.

Famous authors, such as the above - mentioned painter Jackson Pollock, Morris Louis, and Helen Frankenthaler used it to produce flowing, most often abstract paintings and compositions which celebrated pure color, or the pure quality of the canvas surface as was the case during the Post-Painterly Abstraction movement.

Xie Molin combines two traditions in his machine - generated abstract paintings: his classical training in fine arts and his use of a tri-axial linkage painting machine, continuing his father's legacy as an engineer.

Using the abstract technique of dot painting as a means to a figurative end, Boyd paints portraits and landscapes in oils, watercolor, or charcoal, before overlaying the painted surface with dots of archival glue.

«The exhibition will showcase the early collages that combine abstract painting, text, and image; and a selection of many of the artist's best - known blackboard paintings, in which a faux blackboard surface is used as the ground for realistic, painted vignettes adjacent to fragments of different stories that suggest variously ambiguous meanings.

Today, nearly two centuries since Turner's visits to Margate, see first - hand how his dynamic concept of landscape, unconventional use of colour and near abstract watercolours and paintings secured his place as the artist of the elements and the founder of modern landscape painting.

In 2008, Vavrek started experimenting with using sculptural geometric forms as the basis for imagery painted in glaze, which is something he developed further when he started his abstract sectional wall works in 2012.

Instead of using process and materiality as metaphor, I want to reinvigorate the notion that abstract paintings can in fact be directly engaged with the world.

Frequently used in the past by major Abstract Expressionist artists, such as Jackson Pollock or Willem de Kooning, this element, in most cases, also defines the contemporary abstract painting production of our time.