Sentences with phrase «black enamel on»

I saw a lot of great Pollock paintings, like ones with black enamel on dark linen.

Photo: Joshua White, 2013; Donald Judd, untitled, 1962, Cadmium red oil, wax, and sand on canvas and wood, and black enamel on asphalt pipe, 50 1/2 x 45 x 9 5/8 in.

The new ones were just black enamel on raw canvas.

I used black enamel on raw canvas because I liked the way the paint was absorbed by the cotton duck — and it was cheap!

Not exact matches

After I paint two coats of flat black enamel how long must I wait to put finish wax coats on my piece?

The Lockett mini has a silver - tone adjustable chain with a relaxed knot detail, silver - tone stud detail on the side, and black enamel push - clasp closure.

With dark emerald eyes and black enamel stripes, this little guy is quite charming and has been a conversation starter on many occasions.

From kate spade new york: A stylish addition to the home bar, this set is crafted of stainless steel and accented with black enamel dots on the corkscrew and a black - and - white barber pole stripe on the bottle opener.

The traditional compass and square symbols are set on black enamel, surrounded by captivating cubic zirconia stones.

The only tells, visually, are the GT V8's revised rear lower valance and exhaust; the blacked - out mesh in the front grille; and the use of red enamel instead of green on the background of the Bentley badges.

This Vanquish is loaded with: Navigation, Neiman Marcus Christmas Book exclusive edition (Seychelles Blue Exterior Paint, 20 - spoke lightweight alloy wheels with Liquid Silver finish, bright finish front grille, Magnum Silver meshes, bright finish tailpipes, Blue brake calipers, Multi-layer fabric convertible hood in Atlantic Blue, Sterling Silver and Flux Enamel wing badges, Black and White Onyx «Q by Aston Martin» badges, handcrafted interior, Obsidian Black deep soft semi-aniline leather, soft semi-aniline leather seats with Aurora Blue welt, Aurora Blue contrast stitching, hourglass quilted seat accent matched to leather thread, quilted door insert with Aurora Blue welt, Obsidian Black carpet with Aurora Blue binding, Ivory Roekona headlining with Ivory Alcantara, Obsidian Black One - 77 style steering wheel with Aurora Blue contrast stitch, Black gearshift paddles with Aurora Blue leather tips, «Vanquish» embroidered on headrests, Satin Chrome instrument dials and controls, Walnut veneer fascia trim, more), umbrella in trunk, first aid kit and more.

But the sunlight that couldn't be stopped shone on the red bread - box and on the bottle - green icebox and on the blue, marble - painted crock containing cucumber pickles and on the polished black enameled woodstove and on the pale blue safe with the pink floribunda roses painted on the two doors, and he watched all these take their true colors back to themselves and the faces of the men and Mrs. Parker take on the colors and shapes that they carried through daytime that were different from their faces at night under even the brightest light, somehow more supple and creased and softer really than at night, even if they looked more battered and old.

In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52).

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

It may mean something that almost all the abstract painting in the show is by women, from Ulrike Müller's small geometric enamel - on - steel pictures, as precious as antique cameos, to Nancy Brooks Brody's black - and - white grids radiant with half - hidden color.

For more than a year he worked on what became known as his Black Paintings: large, aggressive canvases covered with stripes of black enamel paint that formed repetitive, rippling pattBlack Paintings: large, aggressive canvases covered with stripes of black enamel paint that formed repetitive, rippling pattblack enamel paint that formed repetitive, rippling patterns.

Some of those I'd been most drawn to appeared reduced, hardened and flattened, a little too obvious: the 1973 expanse of white Enamelac on an aluminium base that shows in a thin line down the left - hand side and along the bottom; a row of square pieces from the same year, their fat L - shapes of black (oxidised copper, apparently) set off by smaller white baked - enamel squares; and 1985's Catalyst III, with its steel bolts and thin, intermittent lines of black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete frame.

Chris Oatey, Center: at rest, 2012, paper, rope, acrylic, enamel, 108» x 26» x 24» Upper Right: mirage painting (black / white), 2012, enamel on canvas, 34» x 30»

In his more recent works, including those in this show, he uses enamel on linen, spray painting looping black lines, then erasing or blurring them with rags, engaging in a complex play of presence and absence, gesture and cancellation.

The Alphabet March 16 - June 24, 2018 Keith Haring (collaboration with LA II) Statue of Liberty, 1982 Acrylic and enamel on fiberglass with black light 95 x 35 x 14 in.

In Parrino's Untitled (1992), the anarchist symbol is sprayed in black engine enamel on white vellum.

Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

MICKALENE THOMAS Still life with black and white panther, 2009 rhinestone, acrylic and enamel on panel 48 x 60 inches 1...

MICKALENE THOMAS Still life with black and white panther, 2009 rhinestone, acrylic and enamel on panel 48 x 60 inches 121.9 x 152.4 cm LM12075

Images from top to bottom: Installation view of Don Judd, Green Gallery, New York, December 17, 1963 - January 11, 1964; Poster for Don Judd, Green Gallery, New York, December 17, 1963 - January 11, 1964; Donald Judd, untitled, 1963, cadmium red light and black oil on wood with galvanized iron and aluminum; Donald Judd, untitled, 1963, cadmium red light oil on wood and purple enamel on aluminum.

Black and white, enamel on linen, a bit of turpentine or solvent, and no recognizable imagery allowed.

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

ANDREA ZITTEL Prototype for Billboard: A-Z Cover Series 1 (Gold and Black Stripes) 2012 enamel on plywood 36 5/16 x 72 5/16 x 2 inches (92.2 x 183.7 x 5.1 cm) ARG # ZA2012 - 047

These works are a series of black enamel and oil paintings, they are presented alongside unique works on paper and prints from the same period, which are regarded as his most important and productive output as a draughtsman.

Jettisoning the so - called abstract paintings she had been producing up to that point — large and literal territories of soiled oil paint peppered with holes punched through the canvas — Pensato took on bucketloads of black - and - white enamel and doubled down on her canvases.

Painting in 1950, this 18 - by -24-inch Sapolin enamel on paper reflects the artist's decision in the late 1940s to eliminate «color from his palette in order to focus on line, form and imagery» resulting in «the birth of a confident and energetic synthesis of abstraction, biomorphic forms and gestural «action painting»... The black and white abstractions also demonstrate the crucial relationship between drawing and painting in de Kooning's oeuvre.

After a while he took a can of black enamel (he usually starts with the color which is at hand at the time) and a stubby brush which he dipped into the paint and then began to move his arm rhythmically about, letting the paint fall in a variety of movements on the surface.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iBlack Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iblack 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iBlack ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches

Wool's 8 - foot - high enamel - on - aluminum painting, offered by an unnamed European collection, reads «If you can't take a joke you can get the fuck out of my house» in the artist's trademark black block letters.

Her black - and - white Frank Stella-esque enamel on canvas, Stella Tomlinson Court Park (First Version)(Study), 1990, went for $ 550,000, soaring past a $ 150,000 high estimate.

1998 - Jenny Holzer «Black & White», Enamel paint on metal, 1980 - 82Patty Chang «Come with Me, Swim with you», DVD.

West used thick, black brushstrokes, similar to Franz Kline's style, in works such as «Totem,» an enamel on paper from the 1960s, and an untitled enamel work from the 1960s.

DAN SHAW - TOWN Untitled 2013 steel bar and fittings, spray enamel, screenprinting ink, newspaper ink, carbon black toner and graphite on Econolite with steel frame 72.5 x 120 inches DST 13.11

Rashid Johnson (b. 1977) Falling Man mirror, ceramic tile, spray enamel, black soap and wax on wood 96 7/8 x 72 3/4 x 2 1/4 in.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

Rudolf Stingel, Untitled (# 4), 1989 Oil and enamel on black and white photograph Image size: 7 5/8 x 9 5/8 inches Frame size: 18 1/2 x 14 1/4 inches February 20 — March 21, 2009 Paula Cooper Gallery presents an exhibition of new work by internationally acclaimed artist Rudolf Stingel.

This tour de force of scholarship bears paintings, drawings and five of his six known sculptures, where Pollock pushed on through, farther than even his previous drip paintings, to forge some of the most radical art of the 20th century: sublime, sexy black enamel and oil pours on pure, unprimed canvas.

But in the early 1950s, in the years just before his tragic death at age 44 in an alcohol - fueled car crash, Pollock was experimenting with a new way of confronting his surface, spilling black enamel paint — the kind you might use on outdoor ironwork — onto raw cotton duck canvas, a clashing, angry union of synthetic industrial chemical and unprimed organic substrate.

Karam has used his signature elephant motif to create a gold and black Rhodium pendant; and the colourful figures in Saint Phalle's sculptures, one of which is exhibited in the show, appear as an assemblage of enamelled eyes, lips, hands, feet and hearts on a gold necklace.

Maggie Michael, Colored Ground Series (Orange): How to Make (Frame) a Black Rainbow, 2014 latex, ink, enamel, spray paint on canvas, 39 × 56».

The «way that seemed best» took the form of punctiliously brushed - on black enamel stripes, which retain their power more than a half - century later.

The big, swirling abstract black - and - white enamel - on - linen sold for $ 5.5 million.

And its visual correlative — stark black enamel stripes arranged in a predetermined symmetrical pattern — is the work of a precocious smart aleck (whose youthful callowness is also on display in the title of the 1958 Black Painting, «Arbeit Macht Frei») demonstrating the true condition of the art black enamel stripes arranged in a predetermined symmetrical pattern — is the work of a precocious smart aleck (whose youthful callowness is also on display in the title of the 1958 Black Painting, «Arbeit Macht Frei») demonstrating the true condition of the art Black Painting, «Arbeit Macht Frei») demonstrating the true condition of the art form.

Enamel on chrome coat paper works by Izhar Patkin — Virtue and Village from The Black Paintings and Night at the Balagany.

But, before that, it's grainy footage (handheld) of a woman dancing on a stacked platform of black - enameled aluminum.