Sentences with phrase «where flat planes»

Due to the design of the base, the rear of the opposite painting is seen behind the person, where flat planes of colored paint produce a loosely articulated second figure.

And then a longing for the return of curves and for work with larger areas of colour brought paintings where flat planes of colour appear to weave in space in compositions of lyrical and exuberant rhythms.

Not exact matches

In order to «climb a high mountain» and see «all the kingdoms of the earth,» and in order for the resurrected Christ to «ascend in the clouds» where believers will join him, heaven has to be «up there» above a flat plane of the earth.

Friedman: Well, it -LSB-'s] precisely because — and again [this] goes back to the thesis — in a world that is hot, flat, and crowded, clean power, clean technology, the ability to have your energy in both the clean form where you know the cost of your power and you can control that much better; that's going to be a source of power generally and that's going to be a currency of power, every bit Is [as] much as tanks, planes, and nuclear missiles have been during the cold war.

As with any MacFarlane effort, where he once again teams with co-writers Alec Sulkin and Wellesley Wild, pop - culture references is the first port of call for joke - central, and the sequel is again over-loaded with them: the Planes, Trains and Automobiles and The Breakfast Club sequences are a hoot, but the Comic Con finale feels flat, more creative auto - pilot than uncharted waters.

Having been sold on the merits of the flat - plane crank, we asked if it might find its way into pickup trucks, to which Adam replied that it's not as strong down in the 1,000 -2,000-rpm range where those workhorses spend much of their lives.

Matisse achieves this most characteristically with flat, unmodulated (or flatly patterned) planes of colour, to be seen everywhere in this exhibition, but perhaps most obviously in the «Seated woman with a vase of Amaryllis» (1941) and «Asia» (1946), accompanied where necessary with a strategic contradiction of the prevailing perspective as in the left - hand picture / window / doorway in «Large Red Interior» (1948).

That language consists of flat areas of varying colors and sizes; the interruptions of paint drips, stains and abrasions; moments where the stripes transmute into volumetric planes and forms; and the addition of trompe l'oeil supports and prosthetics to prop up or balance the whole.

In this painting the hexagonal motifs float in a space that I can not help but see as deeper than the two - dimensional flat plane that I know it is and that the painting itself keeps reminding me it is, by the refusal to open up a window on the world of recognizable objects, almost as if I find myself at the moment where perception attempts to become cognition and the attempt is continually thwarted.

In the latter these painted grounds offer a great deal of information, and create a flatter plane where the stage beneath consumes the marks and shapes above, only their faint traces visible.

Now, to quote from the Lion King, «every grunt, roar, and snort» makes the morning report in some database or other, lying flat in the same plane as Solomon's considered views; we now care more assiduously about what goes on in Manitoba, Michigan and Malaysia; SECs now cause corporate data to fly thither and yon like thistledown where before they emitted a few fusty club newsletters.