aesthetic colors edit blush fine perfection touch

Result #1

so that it appears as though it were a fashion item, so that it is filled with all the delicacies of the realm of matter. And so on. Her fine-art mise-en-scène takes a sexual overtones that has to do with the relationships of the sexes. The woman is always placed in a state of innocence, where her beautiful skin is an illusion. The man is always more sinister, where he is always prepared to kill. And these two characters are paired, one against each other in a torture chamber, in a nightmare of gross lust.Like many of her works, there is a subtle tension between the earthy colors and the slavish focus on the body. The women, usually shown nude, are placed in various positions—for example, in the middle of a bed, which gives the sense of their intimate union. The figures are often so large that their heads and legs seem to float. There is an almost ethereal quality to their surfaces, which seem to be filled with an indescribably white light. The color is so saturated that the color vibrates against the background; and the light is so intense that it creates a painful sensation in the center of the body. The color, for its part, appears to consume the bodies of the figures, turning them into a mass of pure color. The color, which is a key ingredient in the composition, is intensified so that it is no longer in the service of any kind of subtlety or depth. But the colors—which in this case are very intense—are not only beautiful, but they also bring to mind the colors of nature, which are almost as beautiful and fragrant as flowers. In this way, Schipper has brought to life a body of images that are almost as beautiful as flowers.

Result #2

aesthetic colors edit blush fine perfection touch without painters face being turned to ash, and so on. The peculiar color play of which the work is concerned, the basic blues and reds, is especially so here, while the shimmering swirls of saturated acrylic make it a real dance to the stage. These three other pieces, all dated 1960, are the most typical of the picture paintings that the artist has done to date. They are also the most typical of his work, which is to say that his pictures, although complex and enigmatic, are the most familiar of the things that have been done to date. The pictures are meant to be read and interpreted in the same way that other paintings are meant to be read and interpreted: that is, with a hint of literary intent. The paintings are meant to be seen in relation to other works. The other paintings, it should be noted, are not meant to be read or interpreted, but to be looked at and remembered. It is as though the picture was meant to be remembered, but it is so very much a picture that it is impossible to remember it. All the paintings are meant to be seen in relation to other pictures. These pictures, then, are the most familiar of all.The paintings in this show were done on sheets of canvas and covered with a thin sheet of acrylic, a mixture of acrylic and enamel. The colors are black, gray, and white, but the enamel has a dark, brownish color. The color ranges from dark browns, green, and blue to the most muted of hues. The enamel is applied in a very thin and uniform manner, and the color is always just that—dark brown. The painting surfaces are not painted but painted in oil paint, and they are usually thin, matte-black surfaces. The color is applied in a very uniform and broad stroke manner.

Result #3

aesthetic colors edit blush fine perfection touch . . . not to mention the silvery heaving of the blushes. The pinkish-pink, pastel-blur, and monochromatic palette of the majority of the photographs in the show, a work featuring not only the same blushes but also a conspicuous brand of flat-bed trailer paint, holds together in a series of neatly cropped vertical panels that register as allover or ragged edges. In this work, the ragged edges are not mere marks of the past, but rather an attempt to connect with the present.The last of the photographs in the show is a fairly large group of gray-blue matte-black, blue-green, and white-ish-pink canvases. Each is a single panel, and each shows a single blushing nude. This series is so large that it takes a few minutes to look at each one of the paintings, but its beauty is really achieved in the following few minutes. In many of the paintings, the blushing is almost like the act of painting, and the smooth, unruffled surfaces, which sometimes hold a faint dusting of dust, as if to simulate a raindrop, make the blushes more tangible. Though the blushes are generally the same size as the paintings, they are presented in slightly different ways. In one case, the blushes are presented as rows of paintings arranged on a single canvas. The works are hung from the ceiling like a trophy case and are positioned in a grid, like a game of cards. The blushes are usually placed in a row, but in some cases they are arranged in more than one line. The paintings are tilted and then raked, as if to create a rippling or a trail of paint, and as if to create a scabrous surface that is either porous or solid.

Result #4

. . . but at the same time, they are more delicate than the looks themselves. The color, as an element of, say, the pale pastel, is clean and easy to perceive, and in its use it has the calm quality of an academic text on color theory.

Result #5

aesthetic colors edit blush fine perfection touch and random touches of gel-blue or green, as if to symbolize her hands, which were the instruments of an unknown, merciless machine. In a tableau reminiscent of a shipwreck, which is at once mesmerizing and tragic, she stands naked and vulnerable, at the crossroads of all the emotions that are in the world.By means of this subtle, original painting, Birnbaum discusses the sensual possibilities of painting, as well as the emotions and sentiments that connect with it. The images are so vividly saturated in color that they come to represent the vital forces of the world. The colors are so pure and concentrated that they can be absorbed into the skin of the body. Birnbaums mastery of such purity is astonishing. These images are so sharply delineated that they become a visual equivalent for the human body. The clear delineation of the face and the lines of the body are so clear that the body is not thought of as a body but as a purely visual thing. These are the bodies of men who are lost, and for them painting is not a place where they can gather and exchange ideas and impressions. It is a place that, like a corpse, can no longer be touched and controlled by an external force. Instead, Birnbaum lets nature take over and move freely, not only in her work but in life as well.Her paintings are also an expression of the emotions that animate her emotions. Her vivid colors convey a sense of the deep and lasting emotions that she feels. The animals and plants that are seen in her paintings and on the wall are reproduced, in an unmistakable manner, in Birnbaums drawings, which are based on the animals and plants that appear in her works. These drawings are for the most part depictions of her emotions, which are like reflections of the true feelings of the heart. In these paintings, Birnbaum makes clear the feeling of suffering that motivates her work.