Sentences with phrase «called as canvas»

Micromax has launched a new mid range tablet called as Canvas Tab P470.

Not exact matches

Crepes, or blini as we call them, are a great canvas for various creations.

Serve this creamy cloud of a cheesecake as it is (nobody'll call it plain), or use it as a canvas for a decadent topping.

A white canvas plimsoll, or tennis shoe as our American friends like to call them, is the backbone to your spring summer footwear rotation; as long as you've got one pair in your line - up you're ready for pretty much whatever casual occasion or dress code is thrown at you.

Shape the shoulder with a free - floating canvas panel called a shield, made from traditional, nonfusible hair canvas or hymo, and secured only at the roll line with hand stitches, as shown, and machine - stitched at the armhole seam allowance when the sleeve header is attached.

And as if perfectly timed to chime with those canvases in celluloid terms is Mr Turner, the ravishing film that stands as a testimonial to what one might call Late Leigh.

Lincoln parent Ford already operates a similar service called Canvas, and Cadillac and Porsche have their own subscription services as well.

Micromax has launched a new device in Canvas series called as Micromax Canvas Hue AQ5000.

One canvas painting called «Four Ballerinas» which features ballerinas in a pink dance studio can be seen as a dress, a blazer, a stool and a poster advertising for his fashion show at The Fashion Institute of Technology.

Part of a series of 102 silkscreened canvas panels conceived as one painting with multiple components, in this piece there are elements that call to mind Franz Kline's investigations into calligraphic compulsions.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

Sharing his as I like to call them, «stroke - of - genius» moments of when he receives a vision to paint, his remarkable detail, curvature and lightness radiate life from the canvas.

John has worked extensively in oil on canvas as well as watercolour and collage, harnessing what he calls «the forces of rhythm, structure and colour» through improvisation «to make images of power and poetry».

STILLPASS: You call this space opened up by the canvas a mental field, but it seems to me that your paintings invite a physical relationship as much as a mental one, especially the paintings you place in the middle of the room.

He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

This same awareness, we could even call it «duplicity,» is upfront in Haim Steinbach's installation of either and or — two pieces (necessarily separate, as one word is painted on a canvas, and the other directly onto the wall).

Adam D. Weinberg, director of the Whitney Museum, said it submitted a range of works from different periods, including Hopper's «Early Sunday Morning» and Georgia O'Keeffe's haunting «Summer Days,» as well as a posterlike Los Angeles canvas by Ed Ruscha called «Large Trademark With Eight Spotlights.»

The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Lim's «canvas activity» as he calls it, addresses both two - dimensional and sculptural space, utilizing a semi-transparent screen stretched on a shaped support that results in interspatial mark making.

The artist's first major exhibition in the region features ten large - scale paintings as well as smaller canvases, wherein according to the artist, «the architecture of place meets the architecture of the sky», revealing phenomena of paint and light, in an oeuvre teetering between a call for salvation and a silent abyss...

Her ripped and torn canvases, imbued with what she calls «body colors» — such as red, brown, and black, as well as «spirit colors» — such as purple, gold, and silver bring Beck into a visual arts lineage with artists including Jean Fautrier and Miriam Cahn.

As a poignant counterpoint to the methodical abuse by Allied Powers, Siatous does not ignore or glamorize any aspect of its sordid history and grounds each canvas with a historically significant date and title in what he calls «a political act,» celebrating a much longed for life in his hometown of Diego Garcia and a hopeful vision for the future.

Mark Joshua Epstein: One thing I also wanted to mention is that, in this painting, Frank Stella starts to use what's called honeycomb aluminum as his support, instead of canvas.

They also call attention to its material support, and up close one perceives the paint as a series of thin layers on equal footing with canvas.

Experimenting with unorthodox pigments and resins, he produced his «Catrami» and «Muffe», as well as protruding, sculptural canvases that he called «Gobbi».

More impressive yet: «Terrestrial Physics,» as the new installation is called, is possibly the most substantial work of art to come out of Washington since the 1950s, when Morris Louis stained his first canvases.

In a review of her 1963 show at the Feiner Gallery, ArtNews called her canvases «marvelously colored» and «constantly expanding» concluding the review with an encapsulation of the writer's experience as follows: «Shapes sink and rise like drum beats leaving other spots in a dead space long enough to vibrate, and then the relationship moves on catching other lights from other places.

Paris's Matthieu Haberard brings five new pieces — with a dark wood, epoxy, acrylic painting titled «Screen, where the touch, is a real sensation» (2015), a can - and - water sculpture called «Combine painting» (2015), a wood - and - electric cable piece called «Your time is running out» (2015), as well as two sculptural installations made of steel, plexiglas, acrylic on canvas, titled «Marcel; Where the bulbs are?»

David, who also uses his body as a canvas to write an autobiographical diary, has created this unique series, called «A Flor de Piel», to show off portraits of have made an impact on his life — teachers, parents, friends, family — they are all sewn into the palm of his hand.

Scaled to his height - Moore's signature format is 80 x 67» - his canvases contain enigmatic ovoid shapes he calls mirrors, floating on the surface as if on water.

Up to date no one has been able to discover in this curious composition either a figure of any kind or anything that resembles a stairway, and the wonder continues to grow as to how and why the producer of this so - called work of art devised the title for his canvas.

She applied this to the processes of art - making: Frankenthaler defied rules about painting as well as printmaking, most consequentially when she thinned her paint with turpentine and poured it directly onto raw canvas, in a manner that radically redirected so - called Color Field abstraction.

She has also called what inadvertently happens to the back side of the canvas as a result of the staining, soaking, and hosing - down of the paint as «received images,» or, as in the case of «March Hare,» «a completely received image,» (meaning she applied no paint at all to the back).

The «draped» paintings, as they would be called, were abstract works on canvas but without a frame, the canvases could be stretched across walls, bunched up like bed sheets, even hung from ceilings.

Painting on linen or canvas stretched across bespoke curved wooden frames (which Gorchov calls saddle - stretchers), the concave and convex structures have often been described as a hybrid between painting and sculpture.

The work might call to mind The Rose (1958 — 66), the 2,300 pound canvas by Jay deFeo, a work into which, as Baker recently wrote on «Painters» Table,» «she poured her entire vision and energy» over an eight - year period.

Unlike the pair of Marsden Hartley canvases that greet you as the elevator doors open on the gloriously sunlit eighth floor, «Painting, Number 5» (1914 - 1915) and «Forms Abstracted» (1913), whose bright colors and crisp forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 - 31.

** Please message a photo of your space with wall dimensions, and we will provide a photoshop rendering to scale Medium: oil and mixed media on canvas Description: Belingheri's new work maintains the fundamental idea, or as he calls it the fundamental problem of rhythmic pattern making.

Morley depicts details: each calibrated digital image as a whole is fragmented into a grid of small squares or «cells» as the artist calls them, from which Morley paints one discrete component at a time, turning the canvas upside down and sideways so that the abstract shape and color tonality of each part is addressed.

Several of Accardi's canvases and gouaches, filled with the flatly rendered colored signs that characterize her work, are included in the exhibition, as are several works painted on transparent plastic called «sicofoil» — a series that revolutionized painting in Italy and beyond and had enormous influence on several sculptors from the «arte povera» group, including Luciano Fabro and Mario Merz.

Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, which led to a series of «six footers», as he called his large - scale paintings.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Riley's early paintings are American in their Pollock - like, rollercoaster sense of space, and the way they are not designed like pictures within a frame but seem to invisibly carry on over the edges of the canvas — what American critics at the time called «all over» painting, and rightly saw as tremendously liberating.

He created what he called «combine paintings», where he was using various objects put together as a canvas, painting over it.

To my mind, Hirst's Spot Paintings are no different in their engagement with art history, as these pulsating canvases of color — ranging from dense fields of tiny dots to a few spare circles isolated against an expanse of white — call to mind Georges Seurat, Hans Hoffmann, Kenneth Noland, Frank Stella, Gerhard Richter, and many more.

Alek O. creates a parasol fabric piece called «Tangram (Cat)» as well as a two - part series of framed embroidery on canvas («Red»).

CAM Raleigh presents five of these signature works — all abstract — in which the artist layers oil paint onto a plate - glass or Plexiglas support before scraping off the accumulating «skins,» as he calls them, and collaging them onto a canvas, letting the thickened medium ripple, sag, and wrinkle, marvelously, across the cotton surface.