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Abstract Landscapes - Chris Coles - Bog

Bag om Abstract Landscapes

Two great American painters, Mark Rothko and Milton Avery, were both interested in the idea that the essence of a painting was not its illusory representation of "reality and depth" but instead the painting's colors and their relation to each other. Rothko thought that a painting should have no "Representation of Reality" at all. Just be blocks of different colors. And, while Avery agreed that Color Fields, colors and their relationship with each other, were a crucial element in a painting, he also thought paintings should have, however vague and abstract, some reference to "Representational Reality". In this series of abstract landscapes, I tried to find a Middle Path between "Representational Reality" and pure "Color Fields". Even though I later developed a more representational style similar to the German Expressionists, I still see my often heavily distorted representational images as opportunities for extreme use of non-representational color.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9781072723394
  • Indbinding:
  • Paperback
  • Sideantal:
  • 108
  • Udgivet:
  • 8. juni 2019
  • Størrelse:
  • 216x216x7 mm.
  • Vægt:
  • 281 g.
  • 8-11 hverdage.
  • 16. januar 2025
På lager
Forlænget returret til d. 31. januar 2025
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Beskrivelse af Abstract Landscapes

Two great American painters, Mark Rothko and Milton Avery, were both interested in the idea that the essence of a painting was not its illusory representation of "reality and depth" but instead the painting's colors and their relation to each other. Rothko thought that a painting should have no "Representation of Reality" at all. Just be blocks of different colors. And, while Avery agreed that Color Fields, colors and their relationship with each other, were a crucial element in a painting, he also thought paintings should have, however vague and abstract, some reference to "Representational Reality". In this series of abstract landscapes, I tried to find a Middle Path between "Representational Reality" and pure "Color Fields". Even though I later developed a more representational style similar to the German Expressionists, I still see my often heavily distorted representational images as opportunities for extreme use of non-representational color.

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