Sentences with phrase «oil sketches from»

Overview: 86 paintings and 16 oil sketches from all periods of Van Dyck's career documented the full range of his work, from portraiture to religious and mythological paintings.

Charley Parker blogs about the exhibition Constable: Oil Sketches from the Victoria and Albert Museum on view at the Frist Center for the Visual Arts in Nashville, TN from June 23 - September 30, 2012.

Downstairs at the Morgan Library as «Exploring France,» fourteen oil sketches from the Thaw collection, shared between the Morgan Library and the Met, fill out a view of landscape art just entering the nineteenth century — their diligent precision caught in time between Neoclassicism and the crisp light of Rome for Camille Corot.

Studying Nature: Oil Sketches from the Thaw Collection presents more than twenty works drawn from the collection of Eugene V. and Clare Thaw, which chronicles the history of the genre in the eighteenth and nineteenth centuries.

That trajectory is explored in The Portrait Transformed: Drawings & Oil Sketches From Jacques Louis David to Lucien Freud.

Not exact matches

Let's look at a rough sketch of what are likely to be the perceived negative ethical implications of oil from the top 10 countries listed by oil production:

The portraits at the Frick varied widely in formality and speed of execution, ranging from quick and expressive drawings and oil sketches to full - length canvases made in Van Dyck's capacity as court painter to Charles I. Works in the first category can look unnervingly contemporary, particularly the sensitive and precocious self - portraits that appeal, anachronistically, to our obsession with «authenticity.»

The series focuses on works drawn from the collection of oil sketches acquired by Morgan Trustee Eugene V. Thaw, who is also an honorary trustee of the Metropolitan Museum of Art, and his wife, Clare.

For example, small technical sketches of shipbuilding plans from Still's time working in the war industries are included, which no doubt played a role in the abstracted, mechanistic forms found in many of his drawings and oil works from the early 1940s.

Featured alongside the works from the Museum's permanent collection is a large oil sketch by major American regionalist painter John Steuart Curry depicting the iconic Oklahoma Land Run.

Bill Scott will be exhibiting a painting in Loaded Brush: The Oil Sketch and the Philadelphia School of Painting at Philadelphia Academy of the Fine Arts from September 23, 2017 to Febraury 4, 2018.

That great work is represented in the exhibition by Rubens's magnificent oil sketch, borrowed from the Courtauld Gallery.

Drawn from major public and private collections in the United States, the paintings are accompanied by more than one hundred beautifully fluid studies in various media: drawings, oil sketches, sculptures, digital composites, photographs, and prints — many never previously seen by the public.

With no prior sketching or planned outcome, Huen's large - scale oil paintings are derived from observation of his own life, portraying quotidian experiences.

While I do all my oil paintings in the studio, I do work from pastel sketches that are done en plein air.

Exploring France is the second exhibition in a series drawn from the collection of oil sketches acquired by Morgan Trustee Eugene V. Thaw, who is also an honorary trustee of the Metropolitan Museum of Art, and his wife, Clare.

The Frick is sending oil sketches and watercolors by European masters including Albrecht Dürer, Claude Lorrain, Eugène Delacroix for the previously planned exhibition «Small Treasures from the Frick.»

The exhibition features 70 pieces from the artist's personal collection, including examples of Katz's signature mural - like canvases, oil sketches, working drawings, collages, prints, and cut - outs.

Included were various groups of sketches, watercolours on wood and oil paintings of everything from intimate portraits of family members and scenes of the Red Army engaged in historic battles, to sites along the route of the Long March, which took place in the mid-1930s, and local figures and landscapes in Tibet.

Olana, the home and artist - designed landscape of nineteenth - century Hudson River School painter Frederic Edwin Church (1826 - 1900), loaned thirteen works from its collection for the exhibition Through American Eyes: Frederic Church and the Landscape Oil Sketch, which was on view at the National Gallery, London, from February 6 through April 28, 2013.

Alongside the ninety - five - year old volume, which Jung worked on from 1914 - 1930, the Hammer Museum will present a number of oil, chalk, and tempera paintings and preparatory sketches related to the Red Book, and other original manuscripts, including the Black Books, which contain ideas and fantasies leading up to the Red Book.

This exhibition, the first to examine Church's oil sketch achievement in depth on the other side of the Atlantic, was organized with and through major support from the Terra Foundation for American Art.

The show united some thirty oil sketches and also included numerous loans from the Cooper - Hewitt National Design Museum, Smithsonian Institution, New York.

And do not overlook: The Pierpont Morgan Library's show of recent accessions from the unparalleled Thaw Collection of Master Drawings and Oil Sketches (through Jan. 19); «The Written Image: Japanese Calligraphy and Painting From the Sylvan Barnet and William Burto Collection» at the Metropolitan Museum of Art (through March 2); «The Quilts of Gee's Bend» at the Whitney Museum of American Art (through Marchfrom the unparalleled Thaw Collection of Master Drawings and Oil Sketches (through Jan. 19); «The Written Image: Japanese Calligraphy and Painting From the Sylvan Barnet and William Burto Collection» at the Metropolitan Museum of Art (through March 2); «The Quilts of Gee's Bend» at the Whitney Museum of American Art (through MarchFrom the Sylvan Barnet and William Burto Collection» at the Metropolitan Museum of Art (through March 2); «The Quilts of Gee's Bend» at the Whitney Museum of American Art (through March 9).

Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice.

This crayon, graphite pencils, ink, oil stick, colored pencil, tape, and cut and torn papers is comprised of the sketch of six vertical strips arranged laterally from left to right that make up the simple, but captivating design only Twombly could create.

• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»

The work that was inspired and to an extent created in Vermont, from pencil sketches executed en plein air, fresh watercolors based on these sketches and painted while in Vermont, and many major oil paintings drawn from these sources and typically completed during the winter months in his New York studio, is celebrated in Milton Avery's Vermont.

Lucky for them, and for us, that one of those scholars is Wheelock Whitney III, who has a passion for French art from the years between Neo-Classicism and Romanticism, and a special love for gleaming little oil sketches done out of doors.

In a phone interview, she expressed pride at having organized several Hofmann exhibitions over her years in Berkeley, in addition to a broad gamut of collection - based shows, from oil sketches by Peter Paul Rubens (1577 - 1640) to American folk art.

From the author's note: «In the summer of 1978 I took photographs of the surface of an oil sketch on canvas

Installation view of DINH Q. LÊ's Light and Belief: Sketches of Life from the Vietnam War, 2012, 70 drawings in pencil, watercolor, ink, and oil with single - channel video: 35 min, dimensions variable, at «After Darkness: Southeast Asian Art in the Wake of History,» Asia Society Museum, New York, 2017.

From then on he traveled constantly in England or abroad, making innumerable direct sketches from which he drew material for his studio paintings in oil and watercoFrom then on he traveled constantly in England or abroad, making innumerable direct sketches from which he drew material for his studio paintings in oil and watercofrom which he drew material for his studio paintings in oil and watercolor.

From 1819, because of his wife's ill health, Constable rented a house for his family at Hampstead, making about a hundred studies of cloud formations, many oil sketches of Hampstead views, and several «finished» works on the spot (see Hampstead Heath, with the House Called «The Salt Box», c.1819 - 20, Tate Gallery N01236).

Rocks and Mountains is the fourth exhibition in a series drawn from the collection of oil sketches acquired by Morgan Trustee Eugene V. Thaw and his wife, Clare.

With no prior sketching or planned outcome, Huen's large - scale oil paintings are derived from observation of his own life, portraying quotidian experiences through a fresh set of aesthetic strategies.