Sentences with phrase «magna on canvas painting»

Kenneth Noland - Beginning, 1958, Magna on canvas painting, Hirshhorn Museum and Sculpture Garden, © Kenneth Noland

Not exact matches

Lot 45, «Reflections: Mystical Painting,» is a strong oil and magna on canvas, 56 by 75 inches, by Roy Lichtenstein (1923 - 1997).

The 74 3/4 - by -44-inch oil and magna on canvas was painted in 1980.

Other highlights of this auction include Lot 20, «Duridium,» a 26 - by - 36 inch magna on canvas, dated 1964, by Roy Lichtenstein (1923 - 1997), estimated at $ 600,000 to $ 800,000, which sold for $ 607,500; Lot 21, «Ileana Sonnabend,» a 1963 metallic paint on canvas, 77 3/4 - by -128-inch work by Frank Stella (b. 1936) that has a high estimate of $ 600,000, and which sold for $ 684,500; Lot 29,» Evening in the Studio,» a monumental painting that out - Rubens Rubens by Lucian Freud and has an ambitious high estimate of $ 3,500,000, and which sold for only $ 2,422,500; Lot 30, «Lying Figure,» a large, interesting composition by Francis Bacon (1909 - 1992) that has an ambitious high estimate of $ 2,500,000 and is starker than his more painterly small works, and which was passed at $ 1,600,000; Lot 35, «Bedouin (Personage Gris et Rougeatre),» a great Jean Dubuffet (1901 - 1985) painting that is conservatively estimated at $ 700,000 to $ 900,000 and which sold for $ 992,500; and Lot 46, «Aux Bons Principes,» a more colorful but not as strong Dubuffet that has an ambitious high estimate of $ 3,000,000, and which sold for $ 2,202,500; and Lot 63, an untitled, large painting by Sigmar Polke (b. 1941) that has a mysterious, luminous and mystical sense of a great mountainscape by the Sung Dynasty masters of China and has a conservative high estimate of $ 300,000, and which was passed at $ 150,000.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

«Twelfth Station» (1965), Magna on canvas by Newman, is from the summit of postwar American painting and shows his pursuit of an abstract pictorial code.

Working with new acrylics like Magna, which retained their bright hues even when thinned to a watery consistency, they made exceptionally vivid, viscous and immediate paintings on unprimed canvas.