Sentences with phrase «oil painted paper»
Oil painted paper and vintage magazine on wood panel.
https://www.wavehill.org/ 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.
The pulp is used as fuel and to make paper, the seed is used in foods, and the oil from the seed can be used as a base for paints and varnishes.
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.
In a previous paper written in 2014, Howarth painted methane emissions from oil and gas production in dire terms, saying that ignoring fracking - related methane emissions would lead to a climate change tipping point and «global catastrophe» from which there is no return.
If you use an oil based primer and then a latex paint over it, the paint sticks easy peasy and doesn't get behind the paper so it doesn't lift off.
Different mixed media painting techniques, using glue, string, card, wax, paper to manipulate and to create texture with acrylic paint Looking at famous artists like Jackson Pollock, Frank Auerbach, David Bomberg, John Hoyland and Howard Hodgkin Resources: Acrylic paint, Sponges, sticks, large and small paintbrushes, credit card, string, glue, Punchinella, kebab sticks batik wax, sand, tissue paper, scrap paper and glue guns, Creating a number of different textures with acrylic paint and see what other mixed media layering one can achieve with chalk and oil pastel as well to layer over the acrylic paint.
Paint reacts just as is would in real life, with paper blotting with watercolours, layering up with oil paints and you can even scrape away the layers to reveal your base colours.
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.
«Using the same photos, I ordered «top quality paper for oil paintings» from both FAA and ImageKind.
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.
Quality — Using the same photos, I ordered «top quality paper for oil paintings» from both FAA and ImageKind.
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.
Previous solo shows with the gallery include recent painting (New York, 2010); paper (New York, 2013); oil paintings and sun (New York, 2015); watercolor and small oil paintings (London, 2017); and recent oil paintings (New York, 2017).
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.
Hanging in there with a shiny center 2013 quartz, glass, wood, epoxy paste, aluminum armature wire, Japanese paper, wood putty, acqua resin, wood putty, papier - mâché, foam, sisal, acrylic paint, oil paint, palladium leaf 21 x 16 x 10 1/2 inches
During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.
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.
Underneath her vibrant layers of oil paint, cut and torn pieces of heavy white drawing paper cover a rectangular panel.
To make her oil paint monoprints, Nicole Ondre rubs a piece of paper against a newly painted section of her studio wall.
Spanning acrylic and oil paintings, gouache and paper collages, patchworks made from fabrics and paint, silkscreens, and colored pencil drawings, this show brings together an expansive group of two - dimensional works to explore the relationship between painting and drawing.
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.
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 second room in the exhibition is devoted to colour and included Rauschenberg's black monochromes, made of oil paint - soaked newspaper slapped onto canvas: though all evidence of the artist's brushstroke has vanished, the wrinkles in the paper have the status of sublime events, voids roiling inside the void.
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.
In his darker Round monotypes, he painstakingly transfers many layers of oil paint onto paper to create infinite space similar to Tang Dynasty bronze mirrors.
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.
Using a mostly pre-planned color scheme, Long includes in her paintings personal symbols, graphic elements, marks made with oil stick, and sometimes, decorative paper.
A provocative figurative oil painting on paper of a couple the question asking, «So how do we finish this?
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 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).