Sentences with phrase «canvas as»

There are two ways to put canvas as art on wall.

I liked my getaway so much I had a local island artist create an oil painting of the cottage on canvas as a keepsake, and a reminder to myself to breath and relax a little in the course of my busy life.

With a blank canvas as your backdrop, it's then easy to charge it up with new bedding, throws and artwork.

Your goal is to get your home looking as neutral a canvas as possible so the greatest number of potential buyers will want it.

I backed mine with navy blue canvas as I think it keeps out more sun than the white «room darkening / blackout» fabric.

I love the canvas as well — a great take on summer.

Areas of the same color on the V30 appear blotchy: when I open up a Google Keep note, I don't get a flat white canvas as I should, but instead I see streaks of gray, looking as if there's an inconsistent backlight.

Just take a look at some fantastic finished products, all done on a canvas as tiny as that used by classical miniaturists, and all done with finger tips.

Spanning three floors of the 24 Grafton Street location in London, the exhibition will include wall paintings and works on canvas as well as a group of related studies that focus on two themes: works in black - and - white and the disc.

The impressions of paint cans and footprints linger on the canvas as evidence of Baselitz's artistic process.

Encompassing artificial and material depictions of nature, the defining and protection of personal, and ultimately penetrable, spaces, and references to the Ab - Ex notion of the canvas as field, the works on view are varied and wide - ranging, in sync with the flexibility of the language of idioms.

Instead, he offers the canvas as a rudimentary plan, a crude impression of possibility.

In these works, Smith treated the canvas as a giant sketch pad.

He transferred newsprint to canvas as well, along with string.

Paint as paint, canvas as canvas; do a little «free» design, suggest a bit of this or that, mute the colours, don't frighten the neighbours.

All of these things, or most of them, have their uses but it's important to approach each canvas as it's own entity.

«We were watching the same landscape and started painting together what we saw,» says Sone, who works side by side with Weissman on the same canvas as they try to crystallize their experience at the end of a day of skiing.

By suggesting a veil flowing over the surface, they make explicit the canvas as itself a soft, flat fabric.

Since the 1990s, Whitten's experiments with paint as a medium have progressed further towards sculpture, beginning with transforming paint compounds into tiles, and applying them to the canvas as mosaics.

Contrasting key paintings by Jackson Pollock and David Hockney, the exhibition considers two different approaches to the idea of the canvas as an arena in which to act: one gestural, the other one theatrical.

The paint lifts from the canvas as you try to add more paint.

Reflective vertical bands of paint appear to brighten and become more illuminated, or darken and sink back into the canvas as the viewer changes position in relation to the painting.

He used color slides in the studio, but did not project on the canvas as did some other artists.

The multiple impressions of the artist's own hand in the upper right corner of Number 1 (1948) emphasize the immediacy of the artist's personal presence and, by contrast, emphasize the vastness of the canvas as measured against them.

In all of these early paintings there is a sense that Herrera sees the canvas as the support for an image, and that the concerns with which she is working are all contained right there on the surface of the work.

Entirely programmed and controlled by a laptop computer, the machine responds on command by spraying a jet of thin, white paint across the surface of the canvas as it is mechanically raised and lowered.

By contrast, the Monochrome art of the 1970s was an attempt to create an authentic Korean art, using the flat surface of the canvas as the fundamental ground for expressing passive, calm, and meditative harmony.

I have a purpose in this Universe to try many techniques, to touch every emotion and bring it to the canvas as it is, as it should be, as I read it and feel it.»

He explained that American painters had recently started to view the canvas as an area or arena in which to act - instead of a space in which to reproduce, display, or express an object, real or imagined.

«I want to shape the TV screen canvas as precisely as Leonardo, as freely as Picasso, as colorfully as Renoir, as profoundly as Mondrian, as violently as Pollock, and as lyrically as Jasper Johns,» he declared in his 1969 manifesto.

Turning the perspective of her compositions to her own body as subject, she began painting the nude female figure, shifting the point of view from outside of the canvas as the viewer, to a simultaneous observer and subject.

The thinned - paint literally fused with its fibrous support, drawing focus to the canvas as an integral part of the art itself, and representing an abrupt departure from the materiality of paint central in the work of the Abstract Expressionists, in particular, Jackson Pollock, Willem de Kooning, and Richard Pousette - Dart.

With the red and green picture, I think I just sensed the shape of the canvas as an event, as against the notion of the canvas creating an arena for events.»

Decades ago, Clement Greenberg complained that it is no longer possible to see a canvas as empty, so primed are we with memories and rationales of painting.

Also exhibiting a brand new body of work at the show, Hatziel Flores takes his childhood superhero imagery and placing them on the canvas as he sees them now.

Reactivating action painting on his own demanding and unruly terms, Jackson only ever uses the canvas as a starting point for towering architectures and baffling feats of labor.

She talks about her work in the accessible manner of a compassionate sibling with the intellectual heft of an artist who is as comfortable in front a canvas as she is a classroom of university students.

Numerous contemporary painters like Noam Rappaport, Lauren Luloff, and Gedi Sibony share an aesthetic sensibility with the Supports / Surfaces movement in that they embrace supports and materials as well as the canvas itself as part of the art they make.

He was part of the avant - garde of the early»60s in the Arte Povera movement, pioneered by Alberto Burri, and made art using blue jeans, fabric and camouflage canvas as commentary to speak against the Vietnam war and the pursuit of social status, he said.

In creating these works, the artists used various techniques including altering the outline of the canvas, building up relief, cutting into the plane, and using materials alternate to traditional canvas as support... Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

«Mindscape» (2017) is obsessive in its level of detail and the artist adds further skeins of white paint across the surface of the canvas as if the painting itself is capable of delivering an electrical charge.

The continuum between the primitive impact, which the artist projects onto each canvas as if a spell were cast, and the minutia of the ligatures that embroiderers entwine on each canvas as if they were gazing on onto the Unknown contained in the self, polarized and therefore reverses the incessant shuttling of scale between Chaos and Cosmos, Speed and Slow Motion, Abstraction and Figuration, Near and Far, Self and Other.

A term coined by the American critic Harold Rosenberg in 1952 to define a specific set of Abstract Expressionist artists who saw the canvas as an «arena in which to act.»

Schulz and Bandau: In recent pieces at Sweetow, Bay Area painter Cornelia Schulz goes deeper into a vein she has worked for some years: the multi-part shaped canvas as a foil for one of abstract painting's potential weaknesses: the merely decorative.

Meanwhile, Enrico Castellani is represented in works that utilise the canvas as a three - dimensional object and radically redefine the notion of painting.

Taiwanese artist Tsai Shih Hung uses his artistic canvas as a way to show the world his observations about the ironies of technology.

The stunning mélange of acrylic in a range of prismatic hues offers such visual opulence that marks this cosmic canvas as among the artist's finest paintings of the 1970s.

Its title refers to the ostensible subject, to the stretched canvas as an object and, through its pun, to the formalism that still ruled critical discourse in the mid -»60s.

She focuses on the two - and three - dimensional nature of painting, employing not only paper and canvas as painting support but also tiles and folded canvases in order to create work that shuttles between the two.

Long associated with the Washington Color School movement, Sam Gilliam is known for his influential Drape paintings, works embracing canvas as a primary medium which he drapes, wraps, as well as traditionally stretches.