Sentences with phrase «bottom edge of the painting»

Meanwhile, behind the rulers, the square linoleum tiles are rendered to appear parallel to the top and bottom edges of the painting, while converging inward.

They reach the same height as each other but the block on the left extends slightly lower, or closer to the bottom edge of the painting, than the block on the right which is wider.

Not exact matches

Also just paint to the edge of the bottom.

When most of the paint was sanded off, I repainted the bottom half of the cabinet with white chalk paint and sanded random edges to make it look aged.

But of course, the bottom cabinet had to match the top, so I used the putty knife again scrape away layers of paint in the grooves and edges.

Never seen in New York before, that series features Mr. Brown carefully matching some of his luminous cartoony landscapes with ceramic vessels — which he collected — on shelves attached to the paintings» bottom edges.

Painted with a palette knife during a single session in the studio, the paintings juxtapose a single, highly finessed field of color against a solid, white band commonly along the bottom or outside edges of the work.

In 1969 I began a continuing series of stain paintings combining stained surfaces, with hard edged colored bands, painted in different sizes across the bottom (some of which had abstract writing in them) and later, colored bands of different lengths and widths on the edges.

Painted with broad expanses of flatly sprayed, banal commercial colors (e.g. manila envelope tan, file cabinet grey), they featured nearly imperceptible, atomized tonal gradations along their bottom edge — an unexpected intrusion of the transcendent into the profane, not dissimilar to that revelatory moment when a Reinhardt black painting begins to yield to an attuned and patient eye.

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

Of the roughly two dozen in that first big painting, only a handful connect the top and bottom edge.

At the bottom edge, a bird that seems to have migrated from a Paul Klee painting offers a great excuse for the display of more color.

Compositionally, he divides the painting into a grid consisting of four rows of irregularly sized rectangles, with the smallest ones running along the bottom edge.

Compare, for example, the horizontal, dripping stroke of brown paint overlapping the bottom edge of blank cloth at the top of the first panel and its reiteration in white at an analogous spot in panel two.

Marden's early paintings box the viewer into the moment of encounter, offering at most a sliver of spattered canvas along a picture's bottom edge — like a faint crack of light beneath a door — as a whispered invitation to ponder the work's material history and creative context.

And the only kind of horizontal lines we have are really on the top left and the bottom right, and otherwise, even the edges, the side edges, of this painting are diagonal, so they almost shoot you out to another artwork or whatever else might be in the room.

Painter Ronnie Landfield responds in print to recent criticism of the hard edge areas of color that appear at the bottom of each of his paintings.

In «Endless Painting 1,» 2014, two column - like forms go off the top and bottom edges of a large vertical canvas.

Present in several paintings is the artist's signature abstracted proscenium stage composition, here with horizon lines only inches from the painting's bottom edge, providing for a sense of a deep expanse.

The painting's title and the artist's signature hug the breadth of the bottom edge, spelled out in machine - stenciled letters that negate this most intimately tailored sign of the artist's hand.

In his early paintings Marden left a bare narrow margin at the bottom edge of the thickly worked surface of oil mixed with wax to allow the observer to be witness to the process.

The wall - hung sculptures pair stitched and painted expanses of nylon — resembling lumpy sleeping bags — from whose bottom edges are affixed lengths of heavy chain, like flaccid tentacles dangling from the larger body.

On the nearly ten - by - eleven - foot canvas, a handful of five - pointed stars, like those on the American flag or the Hollywood Walk of Fame, accompanies the titular phrase as it tips down and over the painting's bottom edge.

In one tightly calibrated delicacy («Lost Horizons # 37»), the falling water in that printed / painted scene is echoed in irregular patches of decorative marbling, and those fluid striations are distilled further in the work's hem, a fringe of dripped white paint on a dark band along the bottom edge.

Now considered to represent the Colour Field Painting tendency within American Abstract Expressionism, these rectangles of uniform width fill the canvas almost edge to edge; at the top and bottom the forms also press close to the perimeter.

Within the square format of «Maintenant» (1981), which is French for «now,» or the eternal and changing present, a steeple - like structure rises up from the painting's bottom edge, slowly distinguishing itself from the gray wall of paint.

I think of this as the subtext of Untitled (1968), a relatively small work painted in acrylic on paper mounted on board, with its flickering flames of bright cardinal red licking at the edges of the bottom beam of black.

Over a background of deep maroon, with a band of green at the bottom edge of the composition, the primary schemes of Marden's early paintings merge with the more earthlike hues of his recent work.

Her new paintings and works on paper present a single, animated rectangle, often thicker on the top and bottom and narrower on the sides, which sits slightly off - center at the bottom edge of the canvas or paper support.

Since at least 2003, when he had an exhibition of Recent Paintings at PS1, his signature gesture has been to bracket his canvases across the top and bottom edges with large gobs of paint.

Another effect is the tapering of a gray band into an overlapping darker or lighter gray, starting at the top or bottom edge and moving at a predetermined angle until it reaches the opposite edge, which introduces a visual tremor into the painting.

Each painting — usually a square, as were the three big ones recently on display at Team Gallery in New York City — is constructed of rectangular color areas, loosely painted, laid one next to the other like blocks of stone; the horizontal line of each color block is separated from those above and below it (and from the top and, usually, the bottom edges of the canvas) by a continuous or broken line of colored «mortar.»

Structurally, Evertz's paintings interweave perfectly plumb, vertical stripes with lines that taper as they reach the top and bottom edges of the canvas.

In Robert Holyhead's Untitled (yellow), a variegated yellow ground is interrupted by two, flatly painted, white triangular shapes reading as cut - outs, accompanied by a vertical line of a different yellow, running along the right hand edge branching out at top and bottom into two triangles causing the yellow of the ground to recede, and creating a lively ambiguous space.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

The overall design and build quality of the LG G5 does feel a little unpolished, with something like the sudden breaks along the chamfered edges giving the appearance of the paint chipping, and the curves at the top and bottom giving it a bent look.

Spray the cans with a water - resistant paint and leave to dry, then pierce the bottom of the cans (for drainage) and on opposite sides of the top edge.

I decided not to sand the pattern work as I didn't want to ruin anything and simply painted that bottom edge of the table instead.

Pour the paint in the paint tray and then use what's left in the can to work on the edges - there is still quite a bit of paint in the can clinging to the bottom and sides