Translation of "Pinselduktus" in English

Many aspects of the composition and the brushstroke have references to traditional Chinese ink painting.

Any reference to the individuality of the artist and the creation process (e.g. brushstrokes) is intentionally avoided.

Vietinghoff became absorbed exclusively in the color experience and the characteristic style of the Old Masters.

The representational aspect gradually disappears, the brushstrokes become looser, the formats larger, and art history enters into his painting.

The ambivalence between painting and photography arouses irritation in the onlooker and simultaneously makes him aware of the structure of the pictures. By dint of the uneasy vibrant brushwork they still are able to maintain their unique artistic quality.

Every idea requires its own method, and although the brush ductus, forms, and the color palette within paintings produced at the same time strongly differ from one another, they are connected by a unifying signature and the immediate reaction they trigger in the viewer.

The objects in the image are increasingly identified with painted and drawn abbreviations, and the characteristic style of the brushwork gains in formative power to depict the atmospheric qualities of land and sea.

The dark, opaque shades of gray, with which green, blue or violet are intermixed, reveal no brushstrokes.

In all of her works, the artist feels her way in close proximity to her subject, conferring a balancing brush fl ow that varies from painting to painting, and by that turning her subject's skin into a declaration of love to the beauty of the human body.

The wafer-thin brushstroke simulates a water surface, the soft, matt colour gradients worked into the paper create voluminous cloud formations.

He mastered the enormous challenge with regard to painting and spatial conception with his typical, very gestural, almost calligraphic brushstroke. At the Kaufhaus

Yet this impression never becomes certainty, as what prove to be the actual motifs of and motivation behind these paintings are ultimately the brush ductus and the overlying, blending, ambiguous color constructs.

Yet if we now look for less explicit musical references – as in Kandinsky's color tones – or even an example of brushwork determined by music as with the Abstract Expressionists, we soon realize that Richter's painting shies away from such "scientification".

The photographic impression of these works remains countered, however, by a simplified representational style and a visible brushstroke.

His position evolved from the tradition of informal painting of the 1950s, in which composition and colour were primarily subordinated to the gestural brush stroke.

Petrassi captured the exuberant kinetic energy in the pointillist brushwork of a Ravel, thus combining it with the virtuosic possibilities of the modern orchestra.

The stripes are sometimes narrow and sometimes wide, are sometimes applied flatly and at other times with a clearly perceptible brushstroke – his abstract compositions become concentrated into optical border hoppers or expand our gaze to encompass almost landscape-like associations.

The young artists were great admirers of Vincent van Gogh and of the colourful works of the Fauves and adopted the brushstrokes of the one and the colouring of the others.

Peter Barthold Schnibbe also uses moments of Impressionist painting in his "Highway", the brush style, space control and forced composition of light.

While traditional academic training required that the painter's personality and his manipulation of the paint be subordinate to the pictorial idea, artists like Monet put their brushwork in the foreground instead.

Similarly on paper, but perhaps with a greater freedom to experiment, and where Badur uses the grid, de Bloeme seems to apply brush strokes that contrasts the structured sections with a different texture.

The hidden brushwork of the painter becomes transmitted, as a peculiar movement and moving emotion all its own.

After the official salon in Paris opened its doors to female artists in the 1790s, Marguerite Gérard (Grasse 1761 – 1837 Paris) regularly exhibited there: works in a very personal style, characterized by carefully executed details and delicate brushwork.

The effects of Monet’s achievements on Austrian artists can be traced in the exhibition in diverse ways: Some of them were to adopt his stylistic signature and, for example, make his brushwork their own; others turned their interest to the motifs and themes they knew from Monet’s pictures.

As an analogy to the physical paint substance and brush stroke, the paintings are imbued with an erotic energy, as it were, giving them a sensual presence.