color-field

col·or-field

(kŭl′ər-fēld′)
adj.
A style of painting that features large flat areas of color spread across the entire canvas to suggest that they extend beyond the canvas into infinity.
Mentioned in ?
References in periodicals archive ?
The color-field artists used to paint huge canvases in which different shades placed next to one another appear to vibrate, and I am guessing the artists picked up the idea of color vibrations from the yellows and greens and orange hues of the October leaves, which appear to be in chaotic motion, even when they are entirely still.
Color-field reacted against the juicy, muscular styles of Willem de Kooning and his many followers, which [Clement] Greenberg deemed spurious and passe.
In her "Valued Paintings" color investigation (page 25), she shares how her middle-school students experimented with color mixing and ultimately created monochromatic, non-objective, abstract, color-field paintings--a la Mark Rothko and Josef Albers.
This kind of repetition has a meditative effect, like a color-field painting by Mark Rothko.
Later, we viewed several artworks by color-field painters Mark Rothko and Josef Albers.
One isn't sure if the backgrounds are photographs or color-field painting, or if the dark, cloudy sky reveals a stormy sunset, the smoggy glow of oil fires, or the aftermath of an apocalypse.
Hollister, by contrast, works in the idiom of color-field abstraction, reimagining the desert landscapes that he also photographs.
Geiger's color-field slide show played counterpoint.
The roomful of mandala-esque color-field paintings possessed the air of a sacred space like the Rothko Chapel in Houston.
But their staged, techno-etherized social studies feel like direct oedipal reactions to, rather than negations of, Nan & Family, like a cool color-field school nipping at the heels of expressionistic flamboyance.
Given their construction from built-up layers of color-field paint skeins and high-formal fussing, a few critics detected a bit of insider parody of Kenneth Noland, Morris Louis, and Helen Frankenthaler.
Fred Tomaselli's Thirteen Thousand, 1992 (its 13,000 individual aspirin tablets stacked in some fifty vertical rows and sealed in resin), might be seen as an incredible variation on classic color-field stripes.