The exhibition was inspired by 1956 PH - 223, a stunning deep blue painting bisected by a thin vertical line created
by bare canvas.
Not exact matches
At the start is the deathly glamour of Stella's Black Paintings — bands in matte enamel, separated
by fuzzy pinstripes of nearly
bare canvas — which shocked everyone with their dour simplicity when they appeared in a show at the Museum of Modern Art, in 1959.
In the case of Seeded (1960), the first work on the right as visitors enter the gallery, these colors are amalgamated in an energetic mass of swirls, curves, bold lines, and planes of color that are further enlivened
by patches of
canvas left
bare.
(The Flag on High, 1959), with its cruciform structure of concentric black stripes separated
by thin lines of
bare canvas, still exude a sombre, mechanical allure.
In 1959, Stella created his «Black Paintings,» series, in which bands of black paint are separated
by thin, precise stripes of
bare canvas.
Frankenthaler began her departure from Pollock
by thinning her oil paint with turpentine and then pouring it directly on to the
bare canvas.
For a take on shaped
canvas, although a
canvas shaped not
by a stretcher, but
by bare hands and its own weight, one might turn instead to Al Loving.
She worked within a grid, like the color charts of Josef Albers, or with brushstrokes separated
by horizontal rules and
bare canvas.
While his first shaped
canvases were determined
by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the
bare wall behind.
Beginning with a rough sketch on
bare canvas, he pinned segments of raw
canvas cut
by a razor onto a supporting
canvas coated with a mixture of paint and glue, often shifting the collage sections to alter the formal relationships within the composition.
Footballers, ice skaters, insects, dogs and film stars prance, bob and cavort across expanses of
bare, unprimed
canvas, often accompanied
by scrawling pieces of text and depicted with a sprawling, schematic immediacy and lashings of thickly applied paint.
She would fill the vessels with blooms — thick circles in hearty shades of blue, orange or red balanced
by whites and pinks and sometimes
by patches of
bare canvas.
In Pijai, 1962, Feeley gave a blue columnar form a perimeter of red, and set this design against a rectangular field of bright yellow that is itself bordered
by a margin of
bare canvas.
Dressed casually in a striped shirt and khakis, Economou said he bought a
canvas by postwar Japanese artist Kazuo Shiraga, known for painting with his
bare feet, at the fair in Basel.
He emphasized spatial relationships in his work
by leaving unstained,
bare canvas as a contrast against the colors used throughout his paintings.
While his first shaped
canvases were determined
by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the
bare wall behind.
The force of these images resides in their deft command of bodies in space balanced
by saturated colors painted patchily on
bare canvas.
, These square
canvases proffer four quadrants of bilateral tantric flourishes, each made
by folding
bare onto painted
canvas.
♦ George Economou said he bought a
canvas by postwar Japanese artist Kazuo Shiraga, known for painting with his
bare feet, at the fair in Basel.
Also of critical importance was Louis» introduction to Helen Frankenthaler (
by Greenberg) and his viewing of her painting Mountains and Sea (1952) in which she had explored the possibilities of staining thinned colors into
bare canvas.
Mr. Elderfield opens
by pairing Jasper Johns's 1982 «In the Studio» with Picasso's 1928 «The Studio,» a great match given their intimations of real and depicted bodies and their shifting combinations of white paint and
bare or nearly
bare canvas to depict walls, art and studio table.
1, an immense square of
bare canvas galvanically activated
by three crucial elements — a smallish blue area, a smaller bit of red and a tiny yellow daub.
The collection also belies the impression Still's painting has progressively «thinned out» during the past two decades; in fact, it shows that he has alternated between thick, richly troweled surfaces and more thinly applied pigments, surrounded
by large expanses of
bare canvas, throughout much of his career.
In one instance, two works hanging side
by side: Sign (potentially the most minimal in the show, a series of pencil lines on
bare white
canvas) and Date act as a visual diptych, the former's clean diagonals echoed as murky chemical smears, nighttime urbanity congealed into acrylic.