Not exact matches
Materials: 8 ″ x 10 ″
Canvas (stretched or on
board) Vintage music paper Modge Podge Foam brushes Craft
paint Scrapbook paper Scissors Cardstock
She
paints exclusively in oils on
canvas or
board.
We actually
painted on
canvas board (63 cm by 49 cm).
Unsurprisingly I guess, oil -
paint on
canvas (
canvas textured
boards, we couldn't have bounce of actual
canvas on frame) gave us results closest to Vincent's
paintings.
171 ci 4 cylinder engine 20hp, 2 speed planetary transmission, leather interior, wooden floor
boards, stock wood spoke wheels, running
boards, oak wood bed,
canvas top, and new
paint.
Vehicle Tags:
canvas top, Ford, Frame Off Restoration, Leather, Matching Numbers, Model T, new
paint, oak wood bed, Running
Boards, and wood spoke wheels.
She had no
canvas, so she made art with whatever she could find ---- window shades, glass bottles, old
boards ---- and Evans» full - page
paintings with bright collage and black lines evoke Hunter's hard work.
She
paints exclusively in oils on
canvas or
board.
She
paints exclusively in oils on
canvas or
board.
However, you can
paint with them on a table or a drawing
board, whereas the bounce of stretched
canvas tend to require you to work upright on an easel.
Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of
painting and the ways in which oil behaves on
canvas or
board.
Acrylic
paint and paper collage on
canvas board, 35 x 27 cm.
Cueva de El Castillo, Puente Viesgo, Spain Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Corridor of Disks, photo: Pedro Saura Hologram, Museo Nacional de Altamira, Santillana del Mar, Spain, photo: Estudio Nómada Inside Conellante, Matienzo, Spain, 2010, photo: Randee Silv El Pendo, entrance, 2010, photo: Randee Silv Pech Merle, Cabrerets, France, photo: Steve Errede, Dept. of Physics, University of Illinois Airbrushing, photo: Don Hitchcock, Don's Maps Finger Flutings, Grotte de Rouffignac, France, photo: Kevin Sharpe & Leslie Van Gelder Untitled, Alice Rahon, 1945, watercolor, 10 x 8», photo: Creighton - Davis GallerY L'Enclume, Wolfgang Paalen, 1952, oil & fumage, 53 x 74», photo: Artsy.net Message, No. 8, Mathias Goeritz, 1959, gold
paint, perforated steel, pushpins on
board, photo: Arevalo Gallery Conference Poster 1950, Willi Baumeister, Centro de Arte Riena Sofia, Madrid, photo: Randee Silv Altamira, Joan Miró, 1958, lithograph, photo: Quittenbaum Auction House, Munich Joan Miró & Josep Llorens Artigas, Altamira, 1957, photo: Fundación Botín, Santander, Spain Patterns of Aranjuez, 1955, N. H. Stubbing, oil on
canvas, 78 x 69 ″, photo: England & Co, London Cave of Black, Herman Cherry, 1954, enamel / coffee grinds on
canvas, 61 x49 ″, David Findlay Gallery, photo: Randee Silv Untitled, Denny Winters, 1982, photo: Gamage Auction House, Rockland, Maine Before the Caves, Helen Frankenthaler, 1958, oil on unprimed
canvas, 102 x 104 ″, photo: Berkeley Art Museum The Homely Protestant, Robert Motherwell, 1946, oil on masonite, 98 X 48 ″, photo: Metropolitian Museum Cave Study (Perigord Region), Elaine de Kooning 1983, segment, photo: Artvalue.com Lascaux Cave, France, closeup of Megalaceros section, photo: Wikimedia commons Untitled 1963, David Smith, spray enamel on paper, 14 x 19 ″, photo: David Smith Estate Chauvet Cave, Vallon - Pont - d'Arc, France, photo: Dr. Jean Clottes Exhibition poster, Miguel Barceló, Institut Valencià d'Art Modern, 1995 photo: Michel Fillon Gallery, Paris Stages of Trance, photo: David Lewis - Williams, Inside the Neolithic Mind Pareidolia, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv Blackness, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv
In addition to important
paintings and works on paper, the Parrish collection includes an unusually large number of works in a less finished state, including some unstretched
paintings on
canvas and a large number of
paintings on
boards.
To grant pure abstraction its utmost wish is to say that it is a
painting in the same way a table is a table — there is nothing to it apart from that formation of shapes and colours on
canvas or
board.
The new work, on
canvas,
board and paper, range from postcard size pieces to large scale
paintings, installed in ways which recall the story
boards used in television and film production.
Her works are often created through the manipulation of the
canvas: she pours
paint directly on to the
board, and, through movement, intuitively makes images.
It usually features pieces of wood, wood shavings, or scraps, assembled on a
canvas (if there is
painting involved), or on a wooden
board.
Thomas Houseago, Black
Painting 8, 2016, oil on
canvas mounted on
board, 108 × 72 inches (274.3 × 182.9 cm) © Thomas Houseago.
All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from
paintings on
canvas &
board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.
Despite being the smallest piece in the show, this rectangular amalgamation of oil
paint, acrylic
paint, household
paint, varnish and mixed media collage on
canvas (then mounted on
board) had that rare feeling of monumentality.
Oil and enamel on
canvas mounted to four shaped wood
boards joined with eight
painted metal supports, 87 x 61 3/4 x 1 5/8 inches.
Oil, acrylic, household
paint, household varnish, mixed media collage & oil on
canvas mounted on
board, 33 x 12.7 cm
«My photo emulsion on linen work began with collages of paper strips, corrugated plastic
board and packing tape, which were then photographed and printed on photo - sensitive linen and stretched on
canvas to become «
paintings.»
In 1988, after having created a series of hand -
painted spot
paintings on
board such as «Spot
Painting», and the first work on
canvas «Untitled (with Black Dot)» (1988), Hirst
painted two near - identical arrangements of coloured spots onto the wall of the «Freeze» warehouse.
These
paintings followed some loose hand -
painted spots on
board such as this one, dating from 1986, and the first spot work on
canvas «Untitled (with Black Dot)» (1988)-- the only «Pharmaceutical»
painting ever to have incorporated a black dot.
Just as the artist Natalie Frank has begun to attract widespread attention for her expert
paintings that collide art history, theater, and dread - inducing violence, she has deked into a new direction with her latest works, which trade her customary
canvases for wooden
board that she
paints with enamel and then overlays with patches of cut - out
canvas that she
paints with oil.
«on the phone» features the artist's new figurative works on
board,
canvas and paper as well as
painted ceramic plates and sculptures.
I'm referring to a group of mostly untitled abstract works — many of them undated, though some are specifically dated 1962 or 1963 — in which cut - out pieces of
painted canvas have been collaged onto
board.14
Working in several media, including oil and pastel on paper,
board, and
canvas, his
paintings strive toward direct expression by focusing on the act of
painting itself.
Each treads
boards as though assembled on a spotlit stage, its wooden floor dragged viscerally into being through
paint pulled across Ghenie's
canvas.
I'm not even sure these
paintings would adhere to the formal definition of a
painting, where a pigmented medium is applied to a
canvas or
board.
Student: Maybe it could be a
painting because, you know, that looks like an empty
canvas board holding up, like, a
painting.
For Rauschenberg,
painting entailed not only using a brush, but also silkscreening, collaging, transferring, and imprinting, and he did so on the widest array of materials from
canvas,
board, and fabric to sheet metal, Plexiglas, plaster, and paper.
But upon viewing your work i immediately ordered 10 tubes of acrylic
paints and 6
canvas boards to try my hand at this style of
painting.
De Balincourt frequently
paints on
board rather than
canvas, giving the work a rough, raw texture, and uses an array of bright, rich colors.
Her oil
paintings on
boards and scraps on
canvas appear to hover on the walls of The Chimney like small apparitions.
My original art work is
painted on archival
canvas boards with high quality
paint that will last a lifetime.
4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on
canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black
Painting, 1960 - 1966 Oil on
canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on
canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on
canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on
canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997
Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4
Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on
canvas,
painted with white color 32 1/4 x 32 1/4 x 2 3/4
painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches
Solo presentations include Sarah McKenzie's realistic
paintings of exhibitions in museums, galleries and at art fairs at Denver's David B. Smith Gallery; Frances Goodman's portraits of femme fatales, intriguingly constructed from hand strung sequins on
canvas at South Africa's SMAC; the Haas Brothers whimsical «Mini Beast» sculptures at Austin's Lora Reynolds Gallery; and Claudio Parmiggiani's haunting still lives, rendered in smoke and soot on
board, at Simon Lee Gallery, which has spaces in London, New York and Hong Kong.
She
paints using acrylic on either
canvas or
board.
NANCY SHAVER Fanny 2011 Scrap metal, found upholstery
board, upholstery fabric,
canvas, glue, paper, house
paint, acrylic
paint 66 x 27 x 20 in.
The three
canvases mimic the dimensions of a standard plywood
board while simultaneously evoking the monumental scale of Canadian landscape
paintings.
Pousette - Dart created a number of works in the early 1950s like this one, using pencil and white
paint on
canvas or
board.
This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking: abstract
paintings and constructions on
canvas, paper, and
board; and a body of work Pindell calls «video drawings», an ongoing series of photographic prints that arise from her unique hybridization of photography, video, and drawing.
On the walls we will show
paintings on
canvas and
board by a young artist, Christopher Eyles, who recently graduated from Farnham College of Art.
Though all of the pieces in this exhibition are
paintings, they are in a variety of media and sizes, on paper,
canvas,
board and a single
painted object.
One
painting that goes curiously unframed is a linen
canvas, not titled, and flecked sparsely with
paint — apparently used as a testing -
board for Connors» brushes.
In «New Geometries,» one of Gibson's shaped
canvas paintings uses the armature of an old ironing
board multivalent in meaning: a readymade, shaped
canvas; an homage to his grandmother who was a meticulous housekeeper; and the transformation of a domestic object into a power object — a shield.
• English Sporting
Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on
canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on
board, 16 × 8 1/4» • European
Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on
canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on
canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on
canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on
canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on
canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on
canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on
canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»