Sentences with phrase «very nature of painting»

And it is the very nature of painting that Brierley's work primarily investigates.

The exhibitions and their ambitious joint catalog present a sometimes perplexing, always fascinating artist who makes us ponder the boundaries between abstraction and reference, and think hard about the very nature of painting itself.

Within a movement that is typically defined by way of the very nature of painting, it is interesting to see photographs that are able to convey such a similar core.

Exploring the very nature of painting, both as a form of a visual language and a vehicle of mere expression, Howard Hodgkin rejected any classical and modern art canons.

In her latest series of works, painter Fiona Rae RA has left behind her familiar working practices to explore ideas about the very nature of painting.

Pieter Vermeersch, (1973 ---RRB-, one of the younger generation of artists here, responds to ideas explored by artists like Piet Mondrian and Ad Reinhardt, both acknowledged influences on Tuymans himself, by testing the very nature of painting itself.

The idea of physical limits created by the very nature of painting is permanently present in these works.

Guston was an artist's artist; a painter who continuously questioned the very nature of painting, regardless of whether his process led to representation or abstraction.

By exploring the very nature of painting both as cultured language and sheer expression, -LSB-...]

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

Not exact matches

A painting or a scene of nature creates a sense of bringing outdoors in and has a very strong life - energy force.

You see, the shiny wheels cost a small fortune, the protective undertrays are of purely cosmetic nature, and the very first close - range mulberry bush is bound to leave nasty scratch marks on the glossy paint.

The paintings, glazed in a digital art like abstraction, are manoeuvred by a brushwork that is honest and unforgiving, reminiscent of Rembrandt in areas and which epitomize the very nature of class driven academia.

Princeton, NJ — A remarkable gathering of paintings by some of the most important artists of the postwar era will provide a window into a moment of extraordinary creative ferment, when the very nature of abstract painting was being hotly contested.

He created a certain intimacy in distance and I think the intimacy of your paintings, James, is of a very similar nature.

In my view, the essential nature of painting is that being flat, and also, very importantly, being bounded so that it consists of necessarily mutually defining relationships, it succeeds in embodying so many feelings and experiences, many of which we would never have but for the existence of the paintings which convey them.

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

It is very human to seek an open space, a place to think and reflect; Daniel finds this magical space in his paintings, making them very compelling as we meditate on the vastness of nature.

Parke's paintings have evolved out of the landscape tradition, but nature is still very influential to her work.

For all that has gone before, «The extreme nature of the «black» paintings, the very way they «work» in the world as art, contradicts their alleged dissociation from ideology.»

He then called the Eggbeater Series and the paintings that followed, his «formula pictures,» claiming that the formula involved stripping down his observations of nature to their very core.

«These exhibitions and their ilk call attention to the insecurities of painting by their very nature, but in their execution declare the evolution of painting more than a primacy of painting's original existence.»

The very essence of nature's yin - yang is now at her wrist as she couples the formalism of landscape plein air painting with evocative abstraction.

As the viewer weaves his / her way through the exhibition, the seemingly disparate paintings begin to relate to one other, as Fuchs constructs an intriguing dialogue among all the works within the exhibition, all the while questioning the very nature of representation itself.

But, even so, despite the limited nature of many of the paintings in the show, there is an ongoing, very high level of artistic practice.

In short, he was very much attuned to the mid-19th century world, to its economic and technological development, to its concerns with the lessons of history and the nation's future prospects, to its debates about the contribution of art to civil society and to reflections on the nature of painting.

Mystical and metaphysical, Shirazeh Houshiary's sculptures, paintings, and animations explore the very nature of existence

But in general, my writing is involved with history as it is made (but not only) and my painting is very much a reflection of my immense love for the world, the happiness to just be, for nature, and the forces that shape a landscape.»»

Abstract expressionism, by its nature, is an individual response to something specific — an experience, a person, a memory, a literary work, the season, the time of day: «You can paint a cubist painting by formula and it might not be a very good cubist painting, but you can not paint an abstract expressionist by formula.»

From the deeply saturated 1968 monochromatic Yellow on Yellow by Felrath Hines to the pulsating binaries of Jennie C. Jones» acoustic paintings, the very nature of these works are preoccupied with the infusion of movement within the two dimensional frame and the inherent dynamic interplay between materiality, texture, sound, movement, and cultural acuity.

Throughout art history, we have a very different understanding of the role and the nature of painting.

Of all these artists, Pollock probably made the most radical contribution to art since Picasso because of his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerOf all these artists, Pollock probably made the most radical contribution to art since Picasso because of his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerof his entirely new and original approach to the very act of painting which was indivisible from the nature of his imagerof painting which was indivisible from the nature of his imagerof his imagery.

But even his very realistic portrayals of nature such as that of Lake Geneva in The Miraculous Draught of Fishes are only used as a background and the theme of the painting is conveyed by the figures in the foreground.

The choice of works is very deliberate with the exhibition broken down into seven themes: Beauty, Power and Space, which looks at each artist's engagement with the sublime, a theme central to English Romantic art but which survived through the modernist movement and is a key feature of Twombly's paintings; Atmosphere, which considers the ways in which the three artists paint land and sea through a filter of atmospheric conditions; Naught so Sweet as Melancholy, named after a phrase in Robert Burton's Anatomy of Melancholy, where the theme of loss and memorialisation are central concerns; The Seasons which reflects upon the passage of time; Fire and Water where all three artists evince the power of the elements; The Vital Force which brings together works of a sensual or erotic nature; and finally A Floating World where each artist contemplates mortality and external events that impact on their lives.

Beginning his career in New York at a time when the modern art scene was dominated by the formidable paintings of the Abstract Expressionists, Johns forged a unique artistic path that echoed the painterly qualities of his contemporaries whilst working with materials and themes in a manner that questioned the very nature of art.

In a period when anything hung on a wall must be instantly afforded the status of painting, when we are confronted by «paintings» that have been made without any recourse to paint whatsoever, created with printers and scanners, or with the assistance of nature, bleached by the sun, stained by the rain, a pretense of process art to painting en plein air, and very late in the day, an engaged practice of painting, rather than dismissed as a thing of the past, is ever more present.

The poetic nature of simple elements like texture and color are very important in my work... I like people to feel my paintings without touching them.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.

Manet, Lautrec and especially Matisse in his Cubist phase, gave magisterial blacks and greys a primary role as if to dramatize the drastic, two - dimensional character of modern painting; by its very nature monochrome painting is more abstract than colour.

Through painting, sculpture, and animation, Houshiary plays with opposing ideas and states of being, including transparency and opacity, presence and absence, materiality and intangibility, and light and darkness, exploring the very nature of existence and metaphysical thought.

Colors, which play a very important part in Browning's paintings, will also vary depending on her feelings or interests of the moment (nature, fashion trends, or art historical preferences).

Information Paintings of Nature's in this blog is very useful and workable.