Sentences with phrase «beveled edge paintings»

Prices for classic drape or beveled edge paintings from the late»60s and early»70s — Gilliam's most sought - after work — can be significantly higher on the private market, ranging from $ 350,000 to just shy of $ 1 million, sources say.

His previous artist record was achieved last year when «Rays,» another beveled edge painting, this one executed in 1971, sold for $ 684,500 (including fees) at Sotheby's Contemporary Curated sale on Sept. 27, 2017.

An untitled beveled edge painting by Gilliam sold for $ 725,000 ($ 885,000, including fees) at Sotheby's New York.

Not exact matches

In the past year, both the Museum of Modern Art and the Metropolitan Museum of Art have acquired Gilliams — in the first instance, a spectacular, tripartite Drape painting from 1969; in the second, a bright multicolored bevel - edge painting from 1970.

Portrait of Albert Pinkham Ryder, 1938, Oil on Masonite, 28» x 22»; c. 1930s American Modernist painting frame, House of Heydenryk, New York makers; silver - gilded beveled sight edge, wormy chestnut reverse profile, molding width: 4-3/8» CURRENTLY ON VIEW at the Met Breuer in the stellar exhibit «Marsden Hartley's Maine», March 15 — June 18, 2017 (And next summer into autumn at Colby College Museum of Art, July 8 — November 1)

She now works on wooden panels fabricated to her specification with bevelled edges so that the paintings seem to almost float off the wall.

This change took form in the artist's iconic Beveled - edge and «Drape» paintings, in which canvases are liberated from their stretchers and suspended from walls and ceilings, blurring the lines between painting and sculpture.

They are easily recognized by the ever - present deep bevelled edge stretcher that brings a certain sculptural quality to his paintings.

The exhibition will present examples of the artist's two seminal series, the Beveled - edge and Drape paintings, spanning from 1967 to 1973.

His experiments progressed from bevelling the edges of his pictures to removing them from the stretcher altogether, turning them into paint - spotted sculptures, draped and crumpled and pinched into three dimensions.

«Sam Gilliam: 1967 - 73» at Mnuchin Gallery features examples of the artist's beveled - edge and drape paintings.

These groundbreaking early works, often folded and crumpled while the paint was still wet, stand apart from the typical output of Gilliam's Color Field contemporaries, utilizing canvases with beveled edges that break the 2 - D plane.

Sam Gilliam «s late 1960s and early 1970s «Beveled - edge» and «Drape» paintings will be the subject of his first New York gallery show in nearly 25 years.

When hung, these beveled edges projected the works off of the wall and towards the viewer, removing the image from the two - dimensional realm of traditional painting and into the viewer's «real» physical space.

This exhibition takes as its starting point Gilliam's Beveled - edge, or Slice, paintings, begun in 1967.

This particular work is beveled at the edges, an effort on Gilliam's part to make the painting appear more object - like.

Recognized for his pioneering beveled edge and drape paintings, Gilliam's practice has garnered renewed critical attention over the past several years.

The outer edge of each panel is beveled and thus creates a sensation that the painting physically unfolds in space.

On June 4, he will open an exhibition of his Beveled - edge and Drape paintings from the late 1960s and early 1970s at David Kordansky Gallery, Los Angeles.

Between 1967 and 1973, Gilliam focused on two series of works, one he called «Beveled - edge» or «Slice» paintings, the other he called «Drape» paintings.

Swann: This richly textured painting is a fascinating and scarce example of Sam Gilliam's work between the stained beveled - edge paintings of 1970 - 72 and the collaged paintings of mid-1970s.

When hung, the beveled edges projected the works off of the wall and towards the viewer, removing the image from the flat, two - dimensional plane of traditional painting and into the viewer's physical space.

According to the Gallery, the show «focuses on works executed during a crucial period in the artist's development, one in which he began to make the iconic Beveled - edge and Drape paintings for which he is best known.

The works on view in this exhibition attest to the fact that the Drapes, and the Beveled - edge paintings, must also be read as stand - alone compositions, each of which has its own internal logic and mood.

Beveled at the edges, these paintings pivot between two and three dimensions, and acknowledge their material's historical significance in creating structure.

There's the display of his painting innovations, such as the works with beveled edges or the draped paintings, plus the story of who Sam Gilliam is, which is almost as compelling as the work itself.

Most recently, in the fall of 2017, she curated Sam Gilliam's first solo exhibition in New York in nearly 25 years, focusing on his two seminal series, the Beveled - edge and Drape paintings.

Green April focuses on works executed during a crucial period in the artist's development, one in which he began to make the iconic Beveled - edge and Drape paintings for which he is best known.

The cabinetry features recessed panel, beveled inside edge detail - Maple, painted Benjamin Moore PM - 2 White.

Painted edges and crosshatch details complement the clean mirrored panels, and even the top is a beveled inset mirror.

3 When both surfaces are dry, paint with two coats of satin finish or floor - grade varnish, covering any indentations and the bevelled edges.