Sentences with phrase «as oil canvases»

Built at the beginning of the 17th century, it displays golden altars and silversmith's work, as well as oil canvases and mural paintings from Cusco's School of Art.

Not exact matches

You will need some «tourist tat» oil canvases you know the type almost like the paint by numbers you probably worked on as a child (oh my goodness how I loved my oil paint by numbers sets when I was young!)

The gradient created with the colors comes out as a canvas of oil paints.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

The cover of this issue has been created by artist Jaxon Northon as an oil on canvas portrait of the film's star.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

The Cathedral's design is very ornamental, in renaissance style, and inside it, one finds the best expressions of Colonial gold and silversmithery, wood carvings in cedar and alder wood, such as the pulpit and the Main Altar worked in pure silver, as well as a valuable collection of oil canvases from Cusco's School of Art.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board.

Tons of paintings both oil, & acrylic, abstract, landscapes, sculptures in stone, cement, polymer clay, 3D canvas art, rock sculptures, fairies, fairy house lamps and stash jars, as well as handcrafted soaps, lotions, candles, bath salts to die for and it's all natural ingredients!!

George Bellows, Men of the Docks, 1912, oil on canvas, 114.3 x 161.3 cm (Randolph College, Founded as Randoph - Macon Woman's College in 1891, Lynchburg)

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).

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.»

Although his work was initially two - dimensional, mostly paintings in oil and acrylic, he began incorporating sculpture, first separately and then as elaborately constructed frames over which he would stretch canvas.

His photograph Upper Deck (circa 1928) served as the prototype for his oil - on - canvas Upper Deck (1929), both of which depict the same mechanical details of a steamship's superstructure.

T03458 ANTONY AND CLEOPATRA 1982 Oil on canvas 114 1/4 × 113 5/16 (2893 × 2872) Inscribed «Gillian Ayres» b.r. Purchased from Knoedler Gallery (Grant - in - Aid) 1982 Exh: Gillian Ayres, Knoedler Gallery, April — May 1982 (20, as «Anthony and Cleopatra»); Gillian Ayres, Serpentine Gallery, November 1983 — January 1984 (17, as «Anthony and Cleopatra») Lit: Tim Hilton, introduction to Gillian Ayres, exhibition catalogue, Serpentine Gallery, November 1983 — January 1984, p. 16 as «Anthony and Cleopatra» The following entry is based upon a conversation between the compiler and the artist held on 8 April 1986 and has been approved by the artist.

John has worked extensively in oil on canvas as well as watercolour and collage, harnessing what he calls «the forces of rhythm, structure and colour» through improvisation «to make images of power and poetry».

Known formerly for her figurative works in oil on canvas, as well as using everyday materials including biro and bleach, Saville has — since 2014 — been producing large - scale abstracts, made up of flawlessly gradating shades.

Oil on canvas, 61 1/4 x 92 1/2 (155.5 x 235) Purchased from the artist through the Marlborough New London Gallery (Knapping Fund) 1966 Exh: Piero Dorazio, Marlborough New London Gallery, London, January 1966 (35) as «Molto a Punta» Lit: Marisa Volpi Orlandini, Jacques Lassaigne and Giorgio Crisafi, Dorazio (Venice 1977), No. 801, p. 205 repr.

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.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

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.

From New York City, Liam Everett makes small and medium size paintings that explore the disparate imagery that appears to him as he's in the act of working the oil paint into the canvas.

Alternatively, I could praise it as a slapdash, broadly painted collage of wax, oil, newsprint, and canvas.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

«Ben Wilson: An Abstract Expressionist Vision» will be the next exhibition opening at the Quogue Gallery, featuring 14 paintings, oil on canvas or Masonite, dating from as early as 1963 and running to 1990.

This exhibition of 10 large canvases (all oil, made between 1968 and 1986) was an engulfing experience of color as light.

In the Azulejões series, the 17th century Portuguese baroque tile panels gain as support oil and plaster on canvas, rather than the usual ceramic tile.

His oil on canvas pieces are beautiful, colorful abstractions, he is also known as a colorist and because his pieces are so complex, he wanted to get rid of the color.

Included in the massive show, which goes to London's Tate Modern after MoMA, are abstractions like the ghostly, white - streaked Untitled (2007), as well as the classic 1980s piece Watchtower with Geese (1988), with its totalitarian subject matter and its use of interlocking color and patterns on fabric — one of Polke's many experiments with materials other than plain old oil on canvas.

Considering that Velázquez is widely seen as the greatest painter ever to lay oil on canvas, and considering that he only made about 110 paintings in his lifetime, the fact that a new portrait is visiting the Metropolitan Museum of Art this month (April 16 - July 14) is bound to cause a stir.

Two of Hirst's more recent paintings in which the artist returned to the traditional medium of oil on canvas are included, as well as «Resurrection» (1998 - 2003)-- a unique sculpture featuring a skeleton bisected by two glass panels, in the position of the crucifixion.

Her painterly approach toward representation heightens a fluid ambiguity - painting the thing or the person which is disappearing and emerging at the same time, as in the elegantly complex portrait sister (2008, oil on canvas, 32.5 x 21.5 in.)

This movement toward a more overall organization of the picture plane reaches a crescendo of sorts in Central Park Trees (oil on canvas, 2015), in which the sky appears only as flashes of light through the trees while the entire surface is otherwise occupied by a lush green glade.

Her works in oil on panel, graphite on mylar, mixed media on paper and sewn canvas employ materials for their connotative properties as well as their experiential potential.

Marine Hugonnier and Abel Boulineau Untitled / Disguised as a Tear, 1875-1880/2008 3 framed parts: oil on canvas and two text panels painting: 48 3/8 x 33 inches (123 x 84 cm) test panels: 14 3/4 x 18 3/8 inches (37.4 x 46.6 cm) each MH - 3201

This atmosphere of timelessness and of nature's perpetuity is also apparent in works such as Priscilla Bowden's Shinnecock Inlet (oil on canvas, 1977), Rae Ferren's The Water Garden (oil on canvas, 1978), and Bill Durham's powerfully evocative Under Accabonac (acrylic on canvas, 1973), which illustrates the power of abstraction in conjuring the invisible maelstrom that exists beneath the surface of the seas.

We are left to intuit a sensibility responsible for objects as diverse as gargantuan monoliths, smudgy romantic drawings and canvases encrusted with oil paint.

At the Jewish Museum, oil paint on canvas positively leaps off the walls, as if to prove Greenberg's notion of the art object dead on.

The artist's canvases combine oil paint with elaborately textured and printed papers, as well as computer manipulated photographs.

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

Vivid colors, applied in gouache and oil to paper, board, and canvas, animate the meticulously rendered shapes; matte surfaces absorb light even as they seem to emanate it.

These works were difficult to categorize: though I thought of myself as a painter, as I had earlier when working with gouache on paper, in defiance of the rules left over from Greenbergian formalism in the New York School that made oil or acrylic on canvas the probative medium, these were not paintings.

Within these patterns, sections of raw canvas remain exposed and function as negative space, alongside contrasting clouded or darkened areas of oil paint and metal leaf.

,» 23 Karat Gold Leaf and Oil on Canvas, 32 x 48 Inches, is inspired by the French flag, elegant and whimsical, however it can also be viewed as a pure geometric abs...

The BMA has also acquired an outstanding example of an oil on canvas by Norman Lewis, an African - American pioneer of the Abstract Expressionist movement and an important figure of the Harlem Renaissance, who can be seen as a predecessor to Bradford's approach to abstraction.

But it's all relative: Hauser & Wirth (which likes publishing a slew of results at fairs) reported the sale of a new mixed media work on canvas by LA - based artist Mark Bradford's for $ 2 million, as well as The Opaque (1947), an oil by Arshile Gorky, shown publicly for the first time since 1965.

In fact, in some cases it looks as if the oil is mixed directly on the canvas.

Since then, Alexander Kaletski has explored mediums and techniques such as burlap, oil on canvas, pastel and watercolors on paper, and acrylic on wood, gaining a reputation of an internationally acclaimed artist.

Gary Petersen, Smashed, 2008 Oil on canvas, 56 x 40 inches January 8 — February 7, 2009 This exhibition examines many of the ways in which artists use line as the dominant element in creating abstract imagery.