Sentences with phrase «vivid fields of paint»

Kuwayama soon developed his own distinctive reductive style, typified by vivid fields of paint juxtaposed in horizontal and vertical compositions, as well as monochromatic canvases bisected by thin strips of chrome.

Not exact matches

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

Gorky created broad fields of vivid, open, unbroken color that he used in his many of his paintings as grounds.

Part of Arcangel's Photoshop Gradient Demonstration series, it encapsulates the long - cherished desire to put photography on par with painting and the accelerating democratization of new media; at 72 - by - 110 inches, its scale and vivid hues evoke Color Field painting.

Gorky created broad fields of vivid, open, unbroken color that he used in many of his paintings as grounds.

The artist's vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish's work.

Viewers in quest of figurative imagery were left simply with the drama of Hoyland's virtuoso handling of paint; the visual tug and pull as one field of colour leaked into or overlaid another, his vivid drips, spills and controlled pourings.

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes.

With a visual dialogue established initially by working illegally with spray paint, making large - scale murals and site - specific work without permission, the artist has developed a process of painting that crosses abstracted, ambient fields of colour and gesture with traditional typography, vivid corrupted language and appropriated slogans.

Biography: Vivian Springford American, b. 1914 Vivian Springford, an artist best known for her «Black Paintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconPaintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconpaintings, is having a second coming.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

The school embraced several different styles including: Action - Painting (see in particular Jackson Pollock's paintings); the vivid Colour Field Painting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andPainting (see in particular Jackson Pollock's paintings); the vivid Colour Field Painting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andPainting (in particular, see Mark Rothko's paintings as well as works by Clyfford Still, Barnett Newman); and the gestural painting of Willem De Kooning andpainting of Willem De Kooning and others.

Her early 1970s «curvilinear» abstractions, vivid painted colour fields cut through by precise lines of colour that curve and intersect, were selected for inclusion in the 1972 Whitney Annual and the now - famous 1971 DeLuxe Show in Houston.

They include one of Barnett Newman's «zip» paintings, «Onement II,» with its vertical brick - red stripe slicing through a scarlet field; Mark Rothko's 1949 «Untitled,» an arrangement of abstract forms that foreshadows his iconic imagery of the 1950s; and Clyfford Still's «Number 5,» a vivid yellow canvas with splashes of color that seem to leap off its surface.