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Swirling shapes, an array of colorful patterns… The path of a flowing river cutting through fields of lush vegetation… or maybe you see pure energy and cosmic flow? There is no right or wrong answer to this question. Abstract art is open to interpretation, and that is one of the beautiful things about it. Abstract art doesn’t jump out and declare, Instead, abstract art requires you to have an open, inquiring mind; you must enter the painting and see where it takes you. Abstract art gives you the freedom to explore the artwork and assign your own meaning to the piece. This intensely personal process enriches a viewer’s experience of an artwork. Understanding abstract art does not come naturally for everyone. It is the kind of art that makes some people scratch their heads and say, “My 5-year old could do that.” What people don’t realize is that the best abstract artists have excellent drawing skills, a finely honed sense of composition, and a deep understanding of the workings of color. Most abstract artists have the ability to draw a perfectly rendered rose or a realistic portrait, but they choose not to. Instead they choose to express their creativity by creating a visual experience that is more free and unencumbered by the weight of objects. Abstract art can also make people uneasy because they don’t automatically know what the art is “about” just by a cursory glance. Or they assume that because it doesn’t look like anything, then it is not “about ” anything. Abstract art doesn’t contain recognizable objects, so there is nothing to grasp or hold onto. This can be very confusing, even threatening, to some who are not used to assigning their own meaning to what they see before them. The truth is, abstract art is not “about nothing”. At its basis, it is about form, color, line, texture, pattern, composition and process. These are the formal qualities of artwork, because they describe what the art looks like and how it is created. Abstract art is an exploration of these formal qualities. Meaning is derived from how these formal qualities are used to create a visual (and/or visceral, cerebral, emotional, etc) experience.
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Texture in painting refers to the look and feel of the canvas. It is based on the paint, and its application, or the addition of materials such as ribbon, metal, wood, lace, leather and sand. The concept of “painterliness” also has bearing on texture. The texture stimulates two different senses: sight and touch. Actual texture is a combination of how the painting looks, and how it feels on being touched. It is associated both with the heavy buildup of paint, such as an impasto effect, or the addition of materials. Many artists around the world use different items and materials to create actual texture in their pieces, some create textured pieces to be touched and experienced, such as MD Weems. MD Weems uses homemade gesso to sculpt texture into her artwork. His textured artwork is then painted and sealed so that viewers can physically touch the artwork. The ability to touch the texture evokes multiple senses through sight and touch and allows for a deeper emotional feel. Textures Some textures include: rough, hard, liquid, solid, wet, bumpy, fuzzy, sticky, dusty, sharp, rough, gritty, soft, and lumpy.
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Welcome! Presenting mid 20th century modern impressionist New York cityscape, Cityscape painting flourished after World War II, already appearing in the repertory of abstract expressionist painters, for example in “City landscape” by Joan Mitchell (1955, Art Institute of Chicago) or in some audacious pictorial experiments by Willem de Kooning. On the way to abstraction we find the figure of Piet Mondrian, who, after emigrating to the United States, created his original visions of New York City, among them the famous “Broadway Boogie Woogie” (1942-43, New York, MOMA) , which the painter Robert Motherwell described with these words: “The Modern City! Precise, rectangular, squared, whether seen from above, below, or on the side; bright lights and sterilized life; Broadway, whites and blacks; and boogie-woogie; the underground music of the at once resigned and rebellious”.
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Why does Leonardo da Vinci continue to have such a hold on our imaginations? Perhaps part of his attraction is that he seems to perfectly exemplify the popular notion of the Renaissance Man. How extraordinary, we think, that he was an inventor, a portrait painter, an anatomist and a botanist, artist and scientist. At least two things are wrong with this notion. One, he was not alone in his multifaceted abilities; it was more common for an artist of his time to undertake at least two or three of these endeavors than it was to specialize in one. But just as important, art and science during the Renaissance were not separated by the chasm that they are now. “A Portrait of the Artist as a Shadow of His Former Self,” Kerry James Marshall . The two most common lighting conditions when painting outside are direct sunlight and a cloudy sky and both influence the qualities of the cast shadow edge. Direct sunlight gives us a hard light source that creates clearly visible shadows and produces a hard crisp edge to the cast shadows. A cloudy sky gives us a soft light source which gives much subtler shadows with soft blurry edges.
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