Sentences with phrase «oil on paper by»

Oil on Paper by Adolph Gottlieb, approx.

Oil on Paper by Adolph Gottlieb, approx 19x13 in.

Oil on paper by Helen Frankenthaler, approx. 20x14 in.

Oil on paper by Robert Motherwell, approx. 20x14 in.

Not exact matches

- Add the vegetable or peanut oil to a large pot, and heat the oil to 325 degrees; once the oil is hot, begin frying the hushpuppies by dropping scant tablespoonfuls carefully into the hot oil, about 4 hushpuppies per batch; use a slotted spoon (or wire spider) to continually move the hushpuppies around in the hot oil to prevent them from getting too dark on one side, and fry for roughly 2 minutes, or until golden - brown and cooked through in the center; remove the hushpuppies from the oil and place them onto a paper towel - lined baking sheet or bowl to drain; repeat the process until all hushpuppies are fried.

I used to grease my pan by adding a little oil, and then take a paper towel and wipe up all the excess, leaving just thin film on the pan.

I have a question regarding the crust, you mentioned putting a pice of parchment paper for easy lifting, do yo put oil on the pan, then parchment paper followed by the batter?or is it parchment paper with oil on it then the batter?

Parmesan Roasted Chickpeas Inspired by Woman's Day magazine 2 (15 ounce) cans of chickpeas (garbanzo beans), drained and rinsed 2 tablespoons olive oil juice from 1/2 a lemon (~ 1 1/2 tablespoons) 1 tablespoon dried oregano 1 teaspoon dried rosemary, crushed 1/2 teaspoon garlic powder 1/2 teaspoon sea salt 1/4 teaspoon freshly ground black pepper 1/2 cup grated parmesan After you have rinsed and drained your chickpeas, spread them out on a paper towel to dry.

1) In a medium - sized bowl, mix almond meal, tapioca flour and coconut flour together 2) Add coconut oil, milk, egg to the dry ingredients and mix until well - combined, then use your tapioca - floured hands to shape the dough into a ball 3) Pre-heat oven to 400 deg Fahrenheit (200 deg Cel) 4) Mix the fresh sliced strawberries with the sugar, and let them sit for 10 — 15 minutes 5) Place the ball of dough on a piece of tapioca - floured parchment paper, and flatten it into a circle by using a tapioca - floured rolling pin until dough is about 1/4 inch thick.

Drain oil from the patties by placing a paper towel on a plate and folding it once.

The new paper, titled «Methane Concentrations in Water Wells Unrelated to Proximity to Existing Oil and Gas Wells in Northeastern Pennsylvania,» was published by Environmental Science and Technology (ES&T) on March 12, 2015.

Suggestions to read in today's digest are: a review about microbiological methods applied in studies following the deepwater horizon oil spill by S.Zhang, a paper by W. Pootakham on dynamics of coral ‐ associated microbiomes during a thermal bleaching event and a paper by X. Jiang on a novel auxotrophic interaction among soil microbes.

You can remove excess ghee or oil from it by placing them on absorbent kitchen paper napkin.

Method — Get a large bowl and add the dried fruit, cashews and carrot — Give it a good mix, then pour over the cold tea — Cover the bowl and leave the mixture to soak overnight — In the morning preheat your oven to 150C and prepare a large cake tin by greasing it well and lining with baking paper — When you're ready to start cooking add the ground nuts and coconut flour to your bowl of soaked loveliness — Give it a big mix — In a separate bowl, mix the eggs, vanilla and coconut oil together — Pour the wet mixture all over the bowl of other ingredients and give it a good stir — Pour the batter into your tin and brush with a tbsp of coconut oil — Bake for an hour, ensuring that the cake is completely covered in baking paper — Take out of the oven and allow to cool completely — Store in an airtight cake tin and decorate as you please on the big day

I check it by dabbing a little oil from the dipstick on to a piece of paper.

(PhysOrg.com)-- By rapidly manipulating colored oil droplets stacked on top of each other, a new electrowetting (EW) technique could lead to the development of electronic paper displays that can produce high - resolution color video.

Robert Motherwell, View from a High Tower, 1944 — 45, tempera, oil, ink, pastel, and pasted wood veneer, drawing papers, Japanese papers, and printed map on paperboard, 74.3 x 74.3 cm (Private collection © Dedalus Foundation / Licensed by VAGA, New York, NY)

Top image: Philip Guston, Untitled 1971, oil on paper, mounted on canvas, 29 x 40 inches (Private Collection) Bottom Image: Ron Milewicz, Covered Bricks, 2013, oil on linen, 36 x 48 inches Presence of Form Exhibition dates: October 8 — November 10, 2015 In honor of the New York Studio School's 50th anniversary, comes Part II of work by artists who are -LSB-...]

The exhibition also featured two illustrated artists» letters by Edouard Manet (1832 — 1883) and Vincent van Gogh (1853 — 1890) as well as approximately forty oil sketches on paper by European artists of the late - eighteenth to mid-nineteenth centuries.

ingredient's isle, 2013, sand, cayenne pepper, baby powder, coffee, turmeric, cinnamon oil, drift wood, rocks, silk, rabbit skin netting, and drywall, accompanied by sound incased in foam, surrounded by paintings on paper, honey comb board and molded rabbit skin glue, dimensions variable.

Kerstin Brätsch: Blocked Radiant D (for Ioana), 2011, oil on paper, 110 by 72 inches; in «The Forever Now,» at the Museum of Modern Art.

Here, oil paintings, works on paper, and bronze sculpture are each characterized by the presence of distorted, haunting figures.

Oil and powdered pigment on paper, 40 1/8 by 26 in.

Ten works on paper from 2010 are exhibited in the second room of the gallery in which Whitten experiments with dry pigment, graphite and oil stick, and creates grid - like compositions by transferring the structure of objects, such as a radiator, directly onto paper with a graphite block.

Rachel Macarthur's four oil paintings on paper are informal, gestural, arriving - at - form in the process of paint application, and there is gesture and painterly dialogue in the three wonderful paintings by Karl Bielik.

PAGES 48 - 49: From left, «The Confederacy: Alabama,» 1965 (oil on canvas) by Robert Indiana and «Black Man and Flag,» 1967 (color etching and collagraph on paper) by Rupert Garcia.

Divided in 6 separate rooms, the installation includes some 60 individual stoneware and porcelain pieces, as well as couple of rare editions on paper by Kusaka, and around 40 pieces by Wood, ranging from small collage showing his studio process, limited edition multiples, a series of floral pieces on paper, all the way to monumental oil and acrylic pieces on canvas.

GEORG BASELITZ Untitled, 2013 India ink and watercolor on paper 26 x 19 13/16 inches (66.1 x 50.3 cm) Photo by Jochen Littkemann GEORG BASELITZ mehr ich tut ach mer willn (Barle flel wil), 2013 Oil on canvas 118 1/8 x 108 1/4 inches (300 x 275 cm) Photo by Jochen Littkemann

Fontana Contended in the Late 1930s Helen Molesworth: Don't Look Back: Eva Hesse's Early Work Andrea Rosen Gallery is delighted to present an exhibition of oil on paper works by Willem de Kooning, «baroque» ceramic sculpture by Lucio Fontana, and Eva Hesse paintings from the 1960s.

Don Voisine, Untitled (XX), 2010 Oil on Paper, 4 x 6 inches Courtesy of McKenzie Fine Art, NYC Curated by James Carroll of the New Arts Program, this three venue survey will feature Don Voisine's work from 1988 to the present.

Many of the Depression - era paintings she made were oil on paper, because materials were hard to come by and expensive, and the exhibition is dominated by large - scale compositions on paper.

From left, Lot 77, «Untitled (Three Figures Seated at a Table),» circa 1946 - 47 (watercolor, brush and ink on cream wove paper) by Romare Bearden and Lot 78, «Untitled (Abstract Composition),» 1947 (oil on wood panel) by Norman Lewis.

Deborah Grant, «In the Land of the Blind the Blue Eye Man is King,» from the series By the Skin of Our Teeth, 2007 (oil, archival ink, paper, Flashe paint, and enamel on five birch panels).

The work acquired by VMFA is an oil on canvas; the stamp features the same subject produced in gouache on paper from the collection of the Beinecke Library at Yale University.

Currently on view at Gallery 16, San Francisco is «From the Sky Rivers Look Like Snakes» a solo exhibititon by Jason Jägel presenting three bodies of work; large oil paintings, works on paper and smaller...

Sooke is joined at Tate Britain by Christie's Head of British Art on Paper, Harriet Drummond, to admire a selection of watercolour studies of Lake Lucerne from the Turner Bequest, which comprises around 30,000 works on paper, including watercolours and drawings, 300 oil paintings and nearly the same number of sketchbooks, compiled during his tours of EuPaper, Harriet Drummond, to admire a selection of watercolour studies of Lake Lucerne from the Turner Bequest, which comprises around 30,000 works on paper, including watercolours and drawings, 300 oil paintings and nearly the same number of sketchbooks, compiled during his tours of Eupaper, including watercolours and drawings, 300 oil paintings and nearly the same number of sketchbooks, compiled during his tours of Europe.

Encompassing oil paintings and works on paper, the exhibition will be accompanied by a publication that outlines this period of Calderara's life and career.

Signed and dated lower right front This poignant signed and dated mixed media oil and sand work on paper by Japanese American Abstract Expressionist Taro Yamamoto is in its original vintage metal frame and ready to hang.

An original mixed media oil and wax painting on paper by American contemporary artist Alberto Rey.

«Perpetuum» is an extremely rare abstract painting by Gustav Rehberger;; an original oil on paper, signed, c. 1991, offered in excellent original condition.

Moving around the gallery, we see three oil on paper paintings by Brian Novatny, two of which are shown below

A one - person exhibition of large scale Triangle paintings and oil stick on paper followed in 1993, at the Andre Zarre Gallery [11] where the artist employed a tight grid overridden by gesture and a plastic color palette.

The paintings, works on paper, mixed - media collages, and photographs feature a number of purchases, including Audrey Flack's large oil and acrylic canvas, World War II (Vanitas); two elaborate mixed - media collages by Mickalene Thomas; textile artist Sonya Clark's Unraveling; photographs of performance artist Cassils» Becoming an Image; photographs related to Leah Modigliani's Morris Gallery exhibition The City in her Desolation; and works on paper by Fernando Orellana.

I was taken by the two framed paintings (not sure of medium) on paper between two larger oil and wax paintings.

Judy Pfaff (American, b. 1946) The Bagh, 1999 encaustic, oil, fern fronds on paper 14 x 90 inches Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri Gift of the William T. Kemper Charitable Trust, UMB Bank, n.a., Trustee, 1999.16 © Judy Pfaff / Licensed by VAGA, New York, NY.

Ellsworth Kelly, Dark Blue Relief, 2008 Oil on canvas, two joined panels, 80 x 80 inches Ellsworth Kelly, Untitled, 1957 Ink on paper, 11 x 8.5 inches February 5 — April 11, 2009 Matthew Marks announces two exhibitions by Ellsworth Kelly: Diagonal.

With the nine oil paintings and three works on paper that comprise the exhibition, Miller continues to explore the narrative potential of the animal world by revisiting many of the themes that she has surveyed in her work for the past thirty years, including the relationship between predator and prey, the effect of changing habitats upon both flora and fauna, the folly of our human sense of control over nature, and the passage of time.

«Five Studies for Stained Glass» (circa 1960s), oil on paper, by Abbot Maurice Morel (1908 - 1991).

The theme is examined in works by Spanish painter Antonio Saura, such as a gestural 1962 ink and oil on paper, alongside pieces by Maria Helena Vieira da Silva and Zoran Mušič.

Working in several media, including oil and pastel on paper, board, and canvas, his paintings strive toward direct expression by focusing on the act of painting itself.