Sentences with phrase «oil paint on paper»

Oil paint on paper mounted on Shoji panel, 24 x 31 inches.

In the 1980s Madden stopped painting for a time and devoted herself to drawing, this resulted in a series of large works in graphite and oil paint on paper.

Patrick Heron - The Piano: 1943, 1943, Oil paint on paper.

Untitled Artist: Gerhard Richter born 1932 Date: 1985 Classification: on paper, unique Medium: Oil paint on paper Dimensions: support: 592 x 853 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Gerhard Richter

Steel, Aluminium; hand thrown glazed ceramic; Terracotta; Model board; Ash; Cherry; Valchro - mat; Sepili; chipboard; carboard; sprayed MDF; fur; silk; sequins; cast Resin; cast Jesmonite; oil paint on paper; airbrushed steel; stitched and embroidered fabric; lace; stones; mother of pearl; rope; tin foil; brass bells; cast rubber; sand; bucket; micro beads; Formica; engraved Brass; Copper; matchbooks; beads; cotton string

Linocut, additions in grey, red and yellow oil paint on paper..

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

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.

A provocative figurative oil painting on paper of a couple the question asking, «So how do we finish this?

Meredeth Turshen creates striking oil paintings on paper that can be interpreted as summery landscapes or read as abstract works.

[13] The very first of Ruscha's word paintings were created as oil paintings on paper in Paris in 1961.

In Pace Hong Kong's inaugural exhibition, the artist used the formality of oil painting on paper, integrating the Western notion of Surrealism with the Eastern conception of classical art.

They are oil paintings on paper and look like false objects because they are all made with an axonometric perspective, so they seem to come out from the wall, which is covered in a classic type of wallpaper.

These spiky constructions — which are like abstract root systems — were inspired by nature, as were the artworks Asawa made while a student at Black Mountain: small oil paintings on paper, a potato print, a work in ink on paper made with a BMC (Black Mountain College) laundry stamp.

Elsewhere, mechanical modes of production have been deployed in the service of metaphorical or recherché motifs — as in Rudolf Stingel's 2009 series of flock - patterned oil paintings on paper, created by spraying silver paint through a gauze template which is then lifted away to leave a textured imprint.

Inka Essenhigh discusses creating the large - scale oil paintings on paper that will be exhibited in Comet Dust & Crystal Shards, her inaugural exhibition at Jacob Lewis Gallery.

When venturing downstairs you'll find a series of smaller studies on wood and framed oil paintings on paper.

For the first time he will exhibit small color oil paintings on paper.

The exhibition continues at 511 West 25th Street, with a presentation of Nozkowski's small notebook drawings and a selection of oil paintings on paper.

Not exact matches

He also painted this rendering of the Akedah in oil and guache on paper, just as he did with many of the other etchings done for Vollard.

Yet I changed my tools from brushes, oil paints, and canvas to pencil, paper, and computing power for years and finished physics with a diploma on the topic of many - particle theory, under the supervision of Prof. Nolting at the Humboldt University in Berlin.

Gallerie Silo: Opening reception for Works on Paper, a collection of charcoal, pencil, pastel, oil paint and ink sketches and doodles journaling artist Michael Armour's growth over the past few years.

Mandy Lyn Ford, Bad Boy, 2015, acrylic, spray paint, oil paint, foam paper, and super gel on ceramic, 9 x 7.5 x 4 inches

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

More than 20 large - scale oil paintings will be on view alongside 50 never - before - exhibited works from the 1930s, which show the artist working in watercolor and gouache on paper.

In the early»80s, [Anselm Kiefer] began to move away from the more specific references to Germany's troubled history and he began to use other materials — sand, metal, paper, and found objects — on top of his oil paintings.

After finishing the large paintings for the show at John Davis, I began a series of small oil on paper pieces from 6 x 8 inches to 10 x 10 inches.

The importance of three - dimensionality is apparent when one compares her oil paintings from this period to related drawings: even when these are on several pieces of paper creating a shape or a broken field, they operate in a more conventional relation to form.

Hugo McCloud light sway, 2016 aluminum foil, aluminum coating and oil paint on tar paper 76 3/4 x 96 3/4 inches (194.9 x 245.7 cm) HM - 106

In the 1980s, DeFeo returned to oil paint, while still continuing to mix and assemble materials in her work, creating large, glowing canvases and an expansive scope of works on paper.

In the red and on the hot seat 2014 extruded and fabricated copper with enamel paint, wood, wood putty, papier mâché, Japanese paper, steel wire, acqua resin, acrylic and oil paint 21 1/2 x 21 1/2 x 21 1/2 inches

Cueva de El Castillo, Puente Viesgo, Spain Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Corridor of Disks, photo: Pedro Saura Hologram, Museo Nacional de Altamira, Santillana del Mar, Spain, photo: Estudio Nómada Inside Conellante, Matienzo, Spain, 2010, photo: Randee Silv El Pendo, entrance, 2010, photo: Randee Silv Pech Merle, Cabrerets, France, photo: Steve Errede, Dept. of Physics, University of Illinois Airbrushing, photo: Don Hitchcock, Don's Maps Finger Flutings, Grotte de Rouffignac, France, photo: Kevin Sharpe & Leslie Van Gelder Untitled, Alice Rahon, 1945, watercolor, 10 x 8», photo: Creighton - Davis GallerY L'Enclume, Wolfgang Paalen, 1952, oil & fumage, 53 x 74», photo: Artsy.net Message, No. 8, Mathias Goeritz, 1959, gold paint, perforated steel, pushpins on board, photo: Arevalo Gallery Conference Poster 1950, Willi Baumeister, Centro de Arte Riena Sofia, Madrid, photo: Randee Silv Altamira, Joan Miró, 1958, lithograph, photo: Quittenbaum Auction House, Munich Joan Miró & Josep Llorens Artigas, Altamira, 1957, photo: Fundación Botín, Santander, Spain Patterns of Aranjuez, 1955, N. H. Stubbing, oil on canvas, 78 x 69 ″, photo: England & Co, London Cave of Black, Herman Cherry, 1954, enamel / coffee grinds on canvas, 61 x49 ″, David Findlay Gallery, photo: Randee Silv Untitled, Denny Winters, 1982, photo: Gamage Auction House, Rockland, Maine Before the Caves, Helen Frankenthaler, 1958, oil on unprimed canvas, 102 x 104 ″, photo: Berkeley Art Museum The Homely Protestant, Robert Motherwell, 1946, oil on masonite, 98 X 48 ″, photo: Metropolitian Museum Cave Study (Perigord Region), Elaine de Kooning 1983, segment, photo: Artvalue.com Lascaux Cave, France, closeup of Megalaceros section, photo: Wikimedia commons Untitled 1963, David Smith, spray enamel on paper, 14 x 19 ″, photo: David Smith Estate Chauvet Cave, Vallon - Pont - d'Arc, France, photo: Dr. Jean Clottes Exhibition poster, Miguel Barceló, Institut Valencià d'Art Modern, 1995 photo: Michel Fillon Gallery, Paris Stages of Trance, photo: David Lewis - Williams, Inside the Neolithic Mind Pareidolia, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv Blackness, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv

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.

Static 2014 Assorted textile, oil stick, acrylic, spray paint, and silkscreen on archival paper 38 x 48 inches

Ink, silkscreen ink, vinyl paint, acrylic, oil, pastel, paper, wood, solvent transfers, stickers, handmade paper, thread, board, and glue on linen and polyester, five parts: 138 1/8 x 106 1/2 x 2 5/8 inches overall.

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

Untitled 2014 Assorted textile, oil stick, acrylic, spray paint, and silkscreen on archival paper 44 x 41 inches

Works on paper and a selection of studies accompany over a dozen paintings in oil and acrylic that demonstrate the evolution of the artist's interest and approach to color, balance, and symmetry.

His large - scale works begin as drawings either on paper or on the computer screen before they are printed or transferred to canvas and then embellished with oil paint.

They cling firmly to the fundamental principles of their art and do not araise any doubts about the methods, techniques or materials they apply: Houseago makes sculptures and casts with plaster and clay, Bessone paints on canvas or paper with watercolours and oil.

The first step is painting on a large piece of Mylar, the scale of this piece of paper and he would use an oil stick or a paintbrush to paint an image on the Mylar.

While the content is filled with personal memory, it is also fueled with humor, reverie, whimsy, and the colorful use of oil paint on canvas mixed with paper and meticulous embroidery work.

Also on view are several early non-ballpoint works; an early lithograph Untitled (1979); a drypoint etching Untitled (1980); two small crayon and oil on paper works Untitled B (1980) and Untitled R (1980); an acrylic and oil on board Untitled 84 - 6 (1984); and Untitled 82 - A (1982), a stunning example of an early painting drawn with a sharp nail and a precursor to his recent acrylic and oil paintings.

McArthur Binion, DNA: Study: Zero, 2014, oil paint stick and paper on board.

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.

In your inquiry, please include the unframed dimensions, the medium (oil, watercolor, pastel), the support (canvas, wood, cardboard, paper), any inscriptions on the front or back of the painting, and clear digital images of the front and back of the painting.

On view will be oil paintings, mixed media works on paper and sculptureOn view will be oil paintings, mixed media works on paper and sculptureon paper and sculptures.

For his second solo outing at the gallery, White will exhibit large - scale oil paintings as well as smaller works on paper, in which he continues his examination of the interstices between representation, abstraction and the tactile sphere of everyday life.

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.

«Thresh Hold (World Series),» 1992 (oil on paper with painted fabric and paper collage including Xerox reproduction).