Sentences with phrase «black paper shades»

A pair of rich scarlet - red, gold, and black ceramic Chinese vases mounted on wood pedestals as table lamps and topped with jaunty black paper shades.

Not exact matches

These lipsticks are packed in black paper cardboard pack with all the details of name, shade, price, expiry etc..

E-paper is, on the other hand, limited in this respect — the most basic eink displays come in black and white, while a modern electronic paper display can display up to 16 shades of gray.

The most basic of eink displays come in black and white, while a modern electronic paper display can display up to 16 shades of gray.

In the paper print of this wooden matrix, cuts become lines and woodgrain becomes shading, with the wood's textural variations now transformed into the stark contrast of a black print on white paper.

Photo: Jonathan Muzikar, © Isa Genzken; Isa Genzken, Rot - gelb - schwarzes Doppelellipsoid «Zwilling» (Red - yellow - black Double Ellipsoid «Twin»), 1982, lacquered wood, two parts, Collection of the artist, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, MLR, 1992, lacquer on canvas, Lonti Ebers, New York, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, Hospital (Ground Zero), 2008, metal tray dolly, plastic flowers in spray - painted vase, ribbon, metal, mirror foil, synthetic polymer paint on fabric, shot glasses, fiberboard, and casters, Collection Charles Asprey, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, New Buildings for Berlin, 2004, glass and silicone on wood pedestal, four parts, Kravis Collection, Courtesy David Zwirner Gallery, New York / London, © Isa Genzken; Isa Genzken, Fuck the Bauhaus # 4, 2000, plywood, Plexiglas, plastic slinky, clipboards, aluminum light shade, flower petals, tape, printed paper, shells, and model tree, Private Collection, Turin, Courtesy AC Project Room, New York, © Isa Genzken

In Superficie Modulada (1956), made with graphite and gouache on paper, a series of intersecting lines creates a pattern whereby triangles in variegated shades of purple and pink jostle around a spine of black and white diamonds, like the design of a backgammon board.

Using white pastel on black paper, the artist chooses to pick out the light in each composition, rather than beginning with white and working in the shade.

[JS 502] 2010 Black plastic parts, black metal lamp shade, hardware, tree root, carpet, pink plastic, extruded aluminum part, yarn, fake lemons, paper, acrylic paint 67 by 62 by 2Black plastic parts, black metal lamp shade, hardware, tree root, carpet, pink plastic, extruded aluminum part, yarn, fake lemons, paper, acrylic paint 67 by 62 by 2black metal lamp shade, hardware, tree root, carpet, pink plastic, extruded aluminum part, yarn, fake lemons, paper, acrylic paint 67 by 62 by 27 in.

Clarkson chooses to depict the contrasts of light and shade in the natural world using white pastel on black paper.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

References to traditional Korean landscape painting are evident in the «Mountain» series (Mountain, 2008 / 2009/2011): monochromatic works composed of horizontal, undulating waves of black or red ink applied to hanji paper in varying densities and shades.

This richly illustrated catalogue examines the inspiration that artists drew from their materials, and their expression of darkness through 70 works on paper, all produced in shades of black, by some the 19th century's greatest artists, including Georges Seurat, Edgar Degas, Odilon Redon, Goya, and Honoré Daumier.

This year for our metallic Christmas, I have made a big batch of paper origami stars in shades of gold, silver, rose gold, black and white.

A tall and handsome pair of 19th century neoclassical style carved ram's head painted floor candlestick lamps, measures 20» black paper drum shade and newly electrified.