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Elisabeth Condon (born 1959) [1] is a contemporary American painter who combines natural imagery, the built environment, and abstraction in her free-flowing synthetic landscapes.
In the 1850s, during the Victorian era prior to Morris, most English wallpaper was inspired by the geometric and historical designs of Augustus Welby Pugin, who had created the neo-Gothic interiors of Westminster Palace, and Owen Jones, notable for his abstract geometric patterns. Wallpaper design was also strongly influenced by imitations of ...
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
An example of a full wallpaper name in Hermann-Mauguin style (also called IUCr notation) is p31m, with four letters or digits; more usual is a shortened name like cmm or pg. For wallpaper groups the full notation begins with either p or c, for a primitive cell or a face-centred cell; these are explained below.
During the 1960s Lucienne adopted brighter colours and simpler forms of expression. As well as crisp flat florals, such as High Noon (1965), Pennycress (1966) and Poinsettia (1966), redolent of Flower Power, she developed a series of striking geometrics, including Apex (1967), Causeway (1968) and Sunrise (1969), which evoke parallels with Op Art.
A pattern is a regularity in the world, in human-made design, [1] or in abstract ideas. As such, the elements of a pattern repeat in a predictable manner. A geometric pattern is a kind of pattern formed of geometric shapes and typically repeated like a wallpaper design. Any of the senses may directly observe patterns.