Sentences with phrase «black ink wash»

Figures in a Wooded Landscape, 1785 — 88, black chalk, black ink wash, with white chalk, worked wet, heightened with white.

Amedeo Modigliani, Female Bust in Red, 1915, red gouache and black ink wash on wove paper laid down on Japan, 14 x 10 5/16 in., Minneapolis Institute of Art

Thomas Gainsborough, Figures in a Wooded Landscape, 1785 — 88, black chalk, black ink wash, with white chalk, worked wet, heightened with white.

Not exact matches

It comes in the black, which I'm wearing, and stripe, ink wash, a special edition print, and a light airy fabric.

Have students section an A3 paper into 4 and complete 4 separate studies of the same object progressively working from least difficulty to most challenging using: pencil, pen, ink wash technique (black fineliner with a wet paintbrush overtop) and colouring pencil.

Wang noticed the slogans on the white wall of the shrine, written in black ink but slightly washed out by the summer rain.

Inked in black and shaded with red ochre washes, Bui's expressive drawings are striking in their clarity, expression, and depth; the faces of her loved ones quickly become familiar.

Stood in a lush field of flowers, Amaterasu is shown howling powerfully with bold black strokes across parts of her fur to capture the game's ink wash artstyle.

Brush pen Line & Wash A3 heavy weight cartridge paper, bottle of black Indian ink, pot for ink, distilled water, brushes (watercolour brushes are fine), kitchen paper or blotting paper, clean water pot.

Pen and black ink, gray wash, with touches of white gouache Signed in black ink at lower right, Joseph Farris.

Pen and brown ink, brush and brown wash, black chalk, stylus ruling, and compass construction (recto), black chalk, some ruling in black chalk (verso).

As if hit by lightning, Caziel's commitment to Abstraction was momentarily halted by his need for a more immediate figurative style to express his passion for Catherine, witnessed in a series of large black ink and wash drawings.

Recent purchases in this area include, for example, a masterful, delicate black chalk drawing by Francesco Vanni, Kneeling Figure and a Hand Holding a Bowl, acquired in 1995, and an energetic ink, wash, and chalk drawing by Antonio Zanchi, Moses Striking the Rock, which was added in 2000 (Fig. 12).34

The first drawing by Giovanni Battista Tiepolo in the collection, Chronos Devouring his Child (Fig. 4), was purchased in 1934 from A. Everett «Chick» Austin, Jr., director of the Wadsworth Athenaeum at Hartford and a fellow Harvard graduate student with Professor of Art Agnes Rindge; Austin evidently bought the sheet from the Savile Gallery in London.21 The brown ink and wash drawing with traces of black chalk is a variation of a work in The Metropolitan Museum of Art and is related to a drawing in The Pierpont Morgan Library that is very close in concept to a portion of the ceiling of the Palazzo Clerici in Milan.22 Other gifts of drawings came in the 1930s, mostly contemporary American art, as well as nineteenth - century sketchbooks by Sanford Robinson Gifford, which complemented the four paintings by this Hudson River School painter that were already in the Magoon collection.

Sepia ink and wash, over traces of black chalk; 203.2 × 279 mm.

He worked extensively in black chalk before adding pen, ink, wash, and sometimes red chalk.

Jan Bruegel (1568 — 1625), A View of the Tiber in Rome with the Ponte Sisto and Saint Peter's in the Distance, ca. 1594, pen and brown ink and wash and blue watercolor over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.20.

Black ink, pencil and coloured washes on paper.

Agnes Martin, Untitled, 1961, Orange wash, black ink and white ink, Paper size: 20.3 x 20.3 cm Framed: 38.3 x 38.3 cm, Paper size: (8 x 8in) Framed: (15 x 15in)

Image: Francisco Goya (1746 - 1828), Leave it all to Providence (Dejalo todo a la probidencia), 1816 - 20, black ink and gray wash, Thaw Collection, The Morgan Library & Museum, 1999.22.

Image: Nicolas Poussin (1594 - 1665), The Holy Family on the Steps, pen and brown ink, brown wash, with touches of gray wash, over black chalk, on paper.

His ink wash paintings are arresting in their monumentality and expressionist use of black ink.

Using black ink, anthracite charcoals and thin washes of fresh, dancing colour, François Pont's engravings / paintings offer a sense of space and rhythm in the landscape — valleys, mountains, lagoons, crossings, openings, passages and regeneration.

Working primarily through a technique of «wash drawing» in black India ink, he used deceptively simple gestures that were simultaneously controlled and spontaneous, in the manner of Chinese monochrome painting.

Depending on the materials and techniques used, the powerful contrast between black and white, or the more subtle contrast of various shades of gray, stresses the structure and the optical effects that bring the works to life, from the subtle vibration of pencil lines to the sustained cadence of flat areas of black and white in acrylic, through soft variations of ink washes.

Layering images of women and men culled from vintage Ebony and Jet magazines «with colorful ink washes, striking geological formations, and dreamy skyscapes, Simpson creates fantastical coiffures that pay homage to the beauty of Black hair.»

The linear mark - making and layering of Chu's work reflects the dynamic rhythm of his running script calligraphy, and his ink washes are predominately executed in black but are highlighted by the occasional use of red or green.

Wayne Thiebaud, Untitled, 1963, ink wash in blue and black, Smithsonian American Art Museum, Gift of Manuel Neri, 2001.27

Untitled (man with a bat on his head), n.d., pen and black ink and brush and black and gray wash on cream wove paper

Richard Anuszkiewicz Green Door, 1953 Pen, Black and Green Ink with Green Wash The Cleveland Museum of Art, Cleveland, OH

, Virgin and Child with Saints in a Landscape, ca. 1500 — 1510, pen and brown ink and wash over red and black chalk, Thaw Collection, The Morgan Library & Museum, 2006.46.

Nicolas Poussin (1594 — 1665), The Holy Family on the Steps, pen and brown ink, brown wash, with touches of gray wash, over black chalk, on paper.

Francisco de Goya (1746 — 1828), Leave it all to Providence (Dejalo todo a la probidencia), 1816 - 20, black ink and gray wash, Thaw Collection, The Morgan Library & Museum, 1999.22.

Jacques Stella (1596 - 1657), The Angel Appearing to St. Joseph in the Carpenter's Shop, the Virgin Reading Beyond, ca. 1640, pen and brown ink, gray wash, over black chalk.

Jacques Callot (1592 ---1635), The Miracle of St. Mansuetus, ca. 1621, pen and brown ink and brown wash over black chalk.

Jackson Pollock (1912 — 1956), Untitled [Drawing for P.G.], ca. 1943, pen and black ink and wash, green ink wash, red colored pencil, and orange watercolor pencil © 2017 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York.

Claude Gellée, called Claude Lorrain (1600 — 1682), Apollo Watching the Herds of Admetus, 1663, pen and brown ink and wash, heightened with white gouache, over black chalk.

Rembrandt van Rijn (1606 — 1669), Four Musicians with Wind Instruments, ca. 1638, pen and brown and black ink and brown wash, and red and yellow chalk, Thaw Collection, The Morgan Library & Museum, 2004.42.

Francisco Goya (1746 — 1828) Pesadilla Pen and black ink, black wash on laid paper The Morgan Library & Museum, New York; 1959.13 Gift of Mr. and Mrs. Richard J. Bernhard

Jan Bruegel (1568 - 1625), A View of the Tiber in Rome with the Ponte Sisto and Saint Peter's in the Distance, ca. 1594, pen and brown ink and wash and blue watercolor over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.20.

Nicolas Poussin (1594 — 1665), The Holy Family on the Steps, 1646 — 48, pen and brown ink and brown wash, with gray wash, over black chalk, on paper.

Giovanni Domenico Tiepolo (1727 — 1804), Scene of Contemporary Life: The Picture Show, 1791, pen and brown and black ink and wash over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.253.

Nicolas Poussin (1594 — 1665), Death of Hippolytus, 1645, pen and brown ink and wash over black chalk.

Claude Gellée, called Claude Lorrain (1600 — 1682), The Sermon on the Mount, 1655, pen and brown ink and wash over black chalk.