Sentences with phrase «black paint field»

Not exact matches

On command of the voices in her head, she spirited her two daughters to the family cottage on the Virginia Peninsula, painted the windows black, and set up the house as a field hospital.

Black and white drawings interspersed with full color paintings depict the life and career of this Puerto Rican baseball player, and the struggles he bravely faced on and off the field.

In the winter months, this small island nation is transformed into a magical world of black lava fields blanketed in snow, waterfalls flowing amid shimmering ice, and night skies painted with the northern lights and their great cascades of color.

In Chestnut (1955), the painting's white field is broken along the center, as if a chestnut tree were pushing through the pigment; and in Red, blue, black (1957), the thick, dark red ground gives way at the center to black calligraphed lines concentrated within dense gestural brushwork.

Each of the next thirteen paintings were fields of sky - green with one or more four inch borders of tan, sky - green, yellow and black or a combination of them.

The exhibition features a new series of Boo Saville's colour field paintings, which are shown in dialogue with a number of black and white canvases.

Trevor Sutton's beautiful paintings here are separated in time by twenty years, Rue Jacob, a circular painting with a central two tone irregular hexad shape situated within a field of fluctuating brown / grey hues, being painted in 1992, and Raindance, a vertical rectangular grid with four columns and sixteen rows in reds, pinks, greys, browns and blacks, having been painted only last year.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

I now could see his transition from color - field painting, in a black - and - white work dating from the 1970s.

The third painting, Gold and Black II from 1993, features a grouping of trees against a monochromatic field of saturated golden color.

The colour fields are inextricably linked to her black and white canvases, the subjects of the latter — sparingly painted so as to retain the appearance of the canvas weave — resulting from internet searches that occur to her whilst working on the abstracts.

During the summer of 1966 Dan began his series of 100» square, bar paintings that were generally in two colors; fields of rich earthy colors and bars which were usually green, black, brown or gray.

The dye will saturate, run, and dry over the course of the exhibition — eventually turning the white felt from pale blue to almost black — transforming the material into a colossal color field painting, a rolling mountain landscape, or even the hump of a whale.

Five paintings structured after works by Kandinsky and Malevich — McElheny's Crystalline Prism Painting I, II, III, IV, and VI — feature press - molded and polished glass prisms inset into a field of black, matte oil paint brushstrokes, visible behind or through a surface made of a sheet of «museum glass».

In the black pourings Pollock was sometimes letting the paint bleed into bare canvas — and this was a precursor to Colour Field painters, such as Helen Frankenthaler Hon RA.

One of the largest paintings from this period, «The Year» (1964) is dominated by the presence of two great black personages floating in a field of luscious wet - on - wet strokes.

Without shying away from the complicated socio - political histories relevant to the world, Wiley's figurative paintings and sculptures «quote historical sources and position young black men within the field of power.»

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

In his White Paintings and Black Paintings (1951 — 53), Rauschenberg had avoided all aspects of composition and expression associated with painting defined either as a product of gesture (Abstract Expressionism) or as color combination (Josef Albers and Color field Papainting defined either as a product of gesture (Abstract Expressionism) or as color combination (Josef Albers and Color field PaintingPainting).

«These black - and - white drawings inspire her bold - hued paintings with touches of cubism, color field, and strong lines... read more... «Amy Sillman's couple fixation»

His esteemed intellect not only undergirded his gorgeous, expressive paintings — frequently featuring bold black shapes against fields of color — but also made Motherwell one of the leading writers, theorists, and advocates of the New York School.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Tondos from Pamela Jorden have wisps of paint out of Robert and Sonia Delauney, sometimes sharing half the field with black.

A new series of paintings offers an interplay of black and white rectangles as they appear to swell and warp over a field of subdued grey.

Viewers must cautiously walk the narrow and dark path between the wall and canvas, following the painting's soft fields of muted beige gradations, outlined and entangled by the white, red and black lines traced with her signature oil sticks.

Like Rauschenberg's Elemental Sculptures, which were meant to be manipulated and can be installed in various positions, Untitled [black painting with portal form] can be hung either horizontally or vertically, tempering the viewer's corporeal relationship to a large, imposing, matte black form by rearranging the compositional field.10 When the work is displayed horizontally (fifty - four inches wide by fifty - one inches high), the rectangular center of the painting is vertically positioned, suggesting a uniformly darkened doorway, window, or portal.

Instead of the vibrant palette featured in his last exhibition, Reveles» recent paintings display a much more subdued range of color, as grey and light blue linear masses hover over dark fields of black.

In 1962 Diller introduced a new format in his «first theme» paintings consisting of white, black, yellow and blue squares arranged on a grey field.

He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red on the painting's surface.

Furnas» Flood paintings, such as Red Sea Parting, 2006, and Last Day (Red to Black in 6 Parts), 2013, raise the stakes on colour field painting, rendering it overwhelming, apocalyptic.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

Each of the three paintings featured a stenciled thicket of black lines crisscrossing a field of bright orange brushwork and white gesso, with a pitch - black area taking over the right third of the support.

Painted in 1947, it features a pair of umbrellalike shapes that might also be interpreted as morning glory flowers or eyes peering from above a vertical field of black and white stripes.

Kim's work reflects his attraction to the postwar tradition of monochromatic painting, exemplified by Ad Reinhardt's Black Paintings and Brice Marden's fields of color.

His mid 20th century paintings demonstrated a sensuous feel for paint and for colour, that was unrivalled at the time, and ranged in colour from monochromatic but luminous browns, greens and blacks, to luscious fields of red and white.

Each painting is built up of delicate webs of graphite or pigment on either a black or a white field.

Mounted on fields of primarily black and blue, Deborah Kass incorporates neon lights in her paintings for the first time.

By 1961, it is clear that Dodd could make a terrific painting, as demonstrated by the drily witty, «Cows and Clouds» (1961), in which the contours of the clouds and their interior forms are echoed by the black - and - white patterns on the two Holstein cows standing in a green field.

Biography: Vivian Springford American, b. 1914 Vivian Springford, an artist best known for her «Black Paintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconPaintings» of the 1950s - early 60s, and later, her vivid stained color field paintings, is having a seconpaintings, is having a second coming.

The show opens with one of most incredible rooms of postwar painting I have seen in a New York gallery in recent years: two huge, pitch - perfect Clyfford Stills, Kenneth Noland and Morris Louis color fields and a breathtaking 18 - foot - long painting by Barnett Newman called Uriel (1955), an expanse of mint green separated from a slice of chocolate by the thinnest of white and black zips.

All one needed to do was follow American art, where the process was at work in exemplary fashion — from Jackson Pollock's all - over paintings and Barnett Newman's colour fields to the black - in - black paintings of Ad Reinhardt.

The circular red ribs that make up the urn - like form of Cherubini's «Morning Star» reflect the looping vase handles and linear flowers in Nichols's still lifes; the figure / field spatial disparity in Bischof's «Omi im Bregenzer Wald» is also found in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's classic study of Philip Guston's late work, published in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum seem to drift above a receding gray and green field, which is bordered in peach - and - gray shards intersecting with black - and - white stripes.

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Inspired by Du Bois» sociological studies on the advancements of Black Americans from the time of Emancipation to 1900, the exhibition will feature a series of response paintings in which the statistical data gathered and made visual by Du Bois has been reduced to abstract color fields and geometric motifs.

Progressive layers of oil paint are applied to a section of the canvas» surface, creating a dense, black field.

In an untitled work from 1961, a bulb of blue dangling from the top of the painting is cradled by a cavity in a black - bordered undulating band of yellow that runs horizontally across a white field in the center.

Or they make paintings that look like edgy hard - core abstraction, deploying fields of black or monochrome paint; Polke, Richter, or Oehlen — like effects; splashes; all - over composition; switching styles willy - nilly within works.

In Painting, the only remaining vestige of his past work's chromatic intensity is the red band that pulses against the maroon background while floating above the closely hued brown and black rectangular fields.