Sentences with phrase «brush marks from»

Zurier's trademark is to include minute, static, and contrasting brush marks from the otherwise singular color composition.

Not exact matches

The Guadalupe image is made from everyday paint, the kind typically used by artists in the 1500's, and even shows brush strokes and perhaps pencil marks.

«Pale and rounded in feature, with short fair hair brushed away from a central parting, he wore a single - breasted, slate - blue business suit and was businesslike in manner, save for an extra smoothness, a honeyed promissory timbre to his voice that marked him as an executive of Christian business.»

When the chicken is around the 140 degree mark, about 30 minutes in, remove from the oven and brush on the glaze on the chicken.

Council Speaker Melissa Mark - Viverito brushed off calls from residents of the troubled New York City Housing Authority for Chairwoman Shola Olatoye to resign her post over delayed repairs — and credited the de Blasio appointee with «great ideas» about how to revitalize the strapped organization.

Especially during pregnancy, I * personally * found that dry brushing seemed to help keep me from getting stretch marks and also seemed to help tighten skin after pregnancy.

Katie from the Wellness Mama blog lost her cellulite by dry brushing, moisturizing with coconut oil, and adding more fats to her diet (see her comment on the cellulite post at Mark's Daily Apple)

Presented this month at Matthew Marks, the artist's last body of work does not disappoint, and the series of pieces, culled from past sketches and concepts or completely new ideas, feels like a fitting look at the furthest points of the artist's exploration before he laid down his brush for the last time.

By marking time with a brush full of watercolor — whose density of pigment ranges from thick to thin — Farrell's works belong to that company of artists that includes Roman Opalka, On Kawara and Peter Dreher.

Visions: Selections from the James T. Dyke Collection of Contemporary Drawings, exhibition catalog, Naples Museum of Art, Arkansas Art Center (2007) NYArts, «Ink Scissors Paper,» by Pamela A. Popeson (July 17, 2007) Journal of Cognitive Neuroscience, Volume 19, No. 6, cover image (June, 2007) Iowa City Press - Citizen «Old Card Catalog Gets Art Makeover» by Rob Daniel (April 2, 2006) Virtual Comunidad 2005 / Now: Here: This, exhibition catalog published by Artists Unite (December 2005) Manhattan Times, «The Photography of Fleeting Moments,» by Mike Fitelson (February 2005) BLIR, Issue # 05 (September 2005) J.T. Kirkland's Thinking About Art, «Artists Interview Artists», interview by Douglas Witmer (August 17, 2005) NY Arts, «Illuminated Brush Strokes,» by Pamela A. Popeson (March / April 2004) NY Arts, «Sky Pape at June Kelly Gallery,» by Carl E. Hazlewood (November 2001) Artnet.com Magazine, Drawing Notebook, by N.F. Karlins (October, 2001) Cover, «Processing Natural Order, Sky Pape at June Kelly Gallery,» by Chloe Veltman (September, 1999) Review Magazine, «Sky Pape, Inklings: Drawings at June Kelly Gallery,» by Mark Daniel Cohen, pp 8 - 10 (June, 1999) Journal of Cognitive Neuroscience, Volume 11, No. 4, cover image (1999) ARTnews Vol.97, No. 1 «Peer Reviews: The Best of 1997» by Paul Gardner, pp 89 - 95 (1998) The Café Review, Spring issue.

Such a marked departure from Warhol's usual operating procedures is present in the surface style of the works as well, where the noticeable brush work, laid down before the screening of the image, is deliberately referential to New York School painting, in particular to the style of painters such as Franz Kline and Willem de Kooning, a painter whom Warhol himself has referred to as a model.

Using spray paint on top of paint brushed marks, you can draw a line of references from Pollocks dripped paint (similarly applied from a distance), to modern day graffiti.

During that same time I had started working on paper, doing something quite different: I was making marks, I was tearing up pieces of paper, I was moving paint from one drawing to the next, I'd use a roller, I'd use a paint brush.

Like all the works of this period, Collection is held together, across its material disunity and the variety of materials out of which it is constructed, by a grid structure derived from the modernist tradition in which Rauschenberg was trained by Josef Albers, by the drips, stains and thick brush marks that create an over-all surface, and by the similarity of value shared by its range of colors.

This month explore brush strokes, blots, and dots to learn how artists make their mark in different ways in the exhibitions Fast Forward: Painting from the 1980s and Human Interest: Portraits from the Whitney's Collection.

Be inspired by exciting painting techniques, from big, bold brush marks to canvases intertwined with thread, and then create your own expressive artworks.

We follow the brush marks to try to trace back the making process, to analyse the sequence of colours and lines, but it is when we move away from this analytic way of looking to one that is more intuitive and start to enjoy the play of light and colour, transparency and opacity that we become conscious of where the power of Frize's painting lies.

Maintaining the consistency of the brushstrokes while varying the amount of paint and pressure applied, Lee keeps «expression to a minimum in order to achieve the maximum» (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3) The almost hypnotic repetition of marks that comprise From Line is created by the artist pressing a brush loaded with blue paint suspended in viscous glue directly onto the surface of the canvas, then repeating the process until there is barely any pigment left on the filaments of the brush.

I think of it too as how one comes to the final calligraphic brush mark by the repeated making of a from.

Ouillette remarks: «Each brushstroke is applied in one single motion, one pass, from left to right with no revisions allowed, or necessary, like the mark of a calligraphers brush.

Paintings from his ground - breaking Anthropometry series will also be on display, for which Klein employed models as «living brushes» to create marks on the canvas in front of an audience, as well as Fire Paintings and Klein's later works in gold.

By not priming the canvas first, the medium spread out from where it was originally applied, creating organic swaths of color that revealed no brush marks or other remnants of the artist's hand.

But from close up (a vantage point no painter can resist), the brush and paint marks appear more tentative, as if they have been reworked or rubbed out.

In the paintings, there is a vicissitude from brush - mark to pixel and back to brush - mark.

Usually filled with evenly applied and saturated color, in «Luster» the paintings again diverge from earlier work through visible brush marks that leave an imperfect, textured, and varied surface making evident the process of paint application.

Instead, when Pollock dripped thinned paint from a stick or a brush, moving his wrist and arm fast or slow, wide or contracted, high or low in the air above a canvas, an almost infinitely variable range of linear marks fell to the canvas below.

As usual she simply wanted to put brush to canvas, leaving a certain mark in a certain color and proceeding from one stroke to the next, beside or over its predecessor, until the entire surface was covered to her liking, in a process both devotional and workmanlike.

He's great on wet paint, especially in his descriptions of Albert Oehlen's brushwork --» grids of dots, and passages of fluid, slashing brush marks «bundled» like kindling... veils, which are often made from dirty turps and some interesting, jewelescent earth tones, give the paintings the feeling of being seen from inside a sock.»

It is a photograph of the fragile brown paper that Morandi tacked up on one wall of his studio, marked with pale colored dabs from Morandi wiping his brushes.

It was a technically demanding white ground aquatint and paper collé process: thin colored Japanese paper printed with black and white brush marks were glued onto paper so that light seemed to glow from behind the colored paper.

It is evident from his work in the late 1940s that Kline had already been moving in the direction of isolating the formal nature and features of his brush marks.

Surrealist artists, many of them refugees from Europe living in New York during the war years, brought with them an interest in primitive and archetypal subject matter, together with the technique of automatism, in which the artist, by relinquishing conscious control over pencil or brush, creates marks which may trigger visual or conceptual associations.

Artist Martin Creed used five single brush marks using a palette derived from the Olympic colours for Work No. 1273 (pictured).

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

Hernández works methodically, using brushes or applying paint directly from the tube, rendering animated lines and marks before washing and scraping the surfaces of his works — in effect creating compositions that appear at once ordered and explosive.

The paintings are woven from small obsessive brush - marks, reminiscent of the caked edges of a painter's pallet; where colours build - up by random application layer upon layer.

As a bonus, next door at the other Matthew Marks gallery space on the street, a group of Kelly's open - line plant drawings (some in pencil, others traced with a delicate brush) offer a reminder of the deep commitment of this abstract genius to drawing from nature.

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

The latex preserves some of the energetic brush - marks from the process of its application.

Each layer will remain a sketch, often visible through the one that covers it.33 Painting will create a whole from parts in an unsettled and unsettling relationship.34 The resonance between body and landscape will reverberate thorough choices of browns, pinks, reds, and whites.35 Painting will be irresponsible to gravity.36 A gestured brush drawing on top of painted forms will define and relocate specific contours.37 The painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 The revolution will be painted.

As it says in the exhibition brochure, she picks all the battles «and plays both sides,» from dry brushed marks to impasto palette knife formations to the printed Photoshop «brushstroke» with drop shadow, and back again.

Printed in colors to exactly match Olive amongst other colors from her palette, Annie Sloan painted this design in Chalk Paint ® creating freehand marks with brushes.

Printed in colors to exactly match Provence amongst other colors from her palette, Annie Sloan painted this design in Chalk Paint ® creating freehand marks with brushes.

• Power drill • Krud Kutter Original (cleaner / degreaser) • An old rag • 1 3in Purdy Paint Brush • WHIZZ 4 - in Cabinet / Door Foam Roller • Orbit Sander (my favorite tool... of ALL time) • 120 grit sand paper • 220 grit sand paper • 1 gal Valspar's Mark Twain House Ombra Gray — Eggshell finish (left over from our Painted China Hutch) • Minwax paste wax