abstractgeometry

Hi- Heather from US. Studying pattern from some very creative people.

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mstrkrftz:

Quinn taking in the view by Val & Jim

arttickles:

The “Soft Block” cushions designed by Japanese studio Torafu Architects looks at new types of rearrangeable furniture. Modeled after concrete blocks, these modular pieces can be composed and recomposed in a variety of configurations.

(via designboom)

(via oilandsugar)

design-is-fine:

Andreas Cellarius, Harmonia Macrocosmica, 1660. 1 Scenography of the planetary orbits encompassing the Earth 2 The spiral revolution of the Sun around the Earth 3 The astrological aspects among the planets. Source

0rient-express:

Milky Way | by Sreenidhi Anand.
thesoulchronicles:

 Franz Schumacher Photography
karlbelvedere:

Central Savings, Richard Estes, Oil on Canvas, 1975.


I used to disregard hyperrealism; paintings by the likes of Richard Estes, Chuck Close & Denis Peterson. I didn’t see the point in copying a photograph verbatim. I expected paint to look like paint; that the artist’s hand must be visible via bold brushstrokes that wear their imperfect handmade nature with pride. Now I think, “How abstract-expressionist (read macho) of me!” I recently viewed a Richard Estes exhibit at the Portland Museum of Art (Portland, Maine) and was delightfully put in my place. Two of the paintings are on loan from Kansas City, where I used to glance at them briefly, before dashing on to a Thiebaud or Rauschenberg. This time, however, I did not see copies of photographs, but reminders that reality is more abstract than we perceive. First of all, Estes does not copy photos verbatim. He often works from a panoramic series of pictures to create a single image with multiple focal points, thus expanding the perceived space.  He intensifies certain colors to pull details into the foreground that would seem arbitrary in a photograph. The human eye, like the camera, only perceives two dimensions; essentially flat fields of color, arranged in various flat shapes. The brain then decodes data gathered by the eye, recognizing familiar combinations of colors and shapes as certain objects and deducing the unknown from previous experience.  Estes completes the eye’s work with a camera. His photographs are 2-dimensional records of 3-dimensional space, perceived 2-dimensionally. His paintings are 2-dimensional as well, but offer more data than the photographs. Cameras, like eyes, are subject to focal points. This is a matter of survival for us. Seeing everything in one’s field of vision, in perfect focus, would be overwhelming and exhausting. By working from panoramic photo sketches and tweaking otherwise insignificant details, Estes gives us the opportunity to see everything in focus, at once. Reflections and shadows are no longer insignificant details, but rather hold the same prominence as the people and objects that cast them. No longer patches of color that lay on top of what one is looking at, but part of it. And what I find so delightful about this is the fact that it’s perfectly legitimate. In The Elements of Drawing (1857), John Ruskin reminds us that we are not born with the ability to deduce 3-dimensionality via our 2-dimensional lenses. Rather, experience is required for the mind to develop this skill that, by early childhood, becomes second-nature. By adulthood, we are so used to processing 2-dimensional data into 3-dimensional perception, while ignoring insignificant details, that the space we inhabit seems congruous. It is clear where one object ends and another begins. Otherwise it would be unnavigable. Picasso claimed to have spent his entire life relearning how to draw like a child. I believe that Estes’ work, though hardly similar to Picasso’s, performs a very similar task. To look at an Estes painting is to see like a child, to see without understanding the rules of vision. 
Richard Estes’ Realism on display at the Portland Museum of Art in Portland, Maine until September 7, 2014.
http://www.portlandmuseum.org/
Central Savings property of the Nelson-Atkins Museum of Art in Kansas City, Missouri.

http://www.nelson-atkins.org/
thirdorgan:

Ivan Picelj (Croatia, Okučani, 28. srpnja 1924. - Zagreb, 22. veljače 2011)
Composition 1959 -1960
sunnation:

Paul Jenkins- Phenomenia Bearer of Blue - 1963, acrylic on canvas.