Sentences with phrase «canvas of white background»

He employed small, hatched brushstrokes to build up a central area of delicate colour on a canvas of white background.

Not exact matches

Already using black - and - white palette in a series of ink on paper sketches, Kline now expanded the method employed the canvas and house - painting brushes that enabled him to create broad strokes of dark color intersecting the white background.

Preparing a canvas with a background of pale gray and then superimposing on it one small white arc after another, she ended up with a surface that pulsated with a lacelike proliferation.

The thin layer of removed white wall paint is then applied onto raw canvas and framed, so that this ordinary, typically valueless and disregarded «background» is transcended and becomes painting with a new worth and significance.

Though the foreground is made up of flat, thickly colored geometric shapes, the background is comprised of thin washes of acrylic or vacant white canvas.

The Barré paintings at Andrea Rosen belonged to a group of works developed between the years 1963 and 1967, whose most prominent features are black lines spray - painted across the white canvas background.

Executed in oil on canvas with minimal use of colour and a dark tonality, the full faced figures stand out in sharp contrast to the plain white background, heightening the sense of confrontation.

A large canvas by Agnes Martin, who considered herself an Abstract Expressionist — although her work is closely aligned with Minimalism — consists of faint, hand - ruled graphite lines on an off - white background.

On the ground right: Martin Kippenberger Richter - Modell (interconti), 1987 a 1972 Gerhard Richter painting, wood frame, metal legs From right to left: Lucio Fontana — Hisachika Takahashi Concetto spaziale, Attese, 1966 oil on canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronze

In the black paintings as well as in the white ones, however, the geometric weave is interrupted by trims or by the transversal advance of the monochromatic background over the figure, and we are launched once again into the field of the representation delimited by the canvas.

In Staring Horse (2004), the canvas is dominated by the direct gaze of a white horse who engages with the viewer as it emerges from a richly worked background.

The Russian Suprematist painter Kazimir Malevich made canvases of pure form and color, like black squares on white backgrounds, or what he termed «Suprematist Compositions» of varied forms floating in space.

All the while, the backgrounds of each canvas remain a pure white.

Set on intricate backgrounds of fabric collage and pastel - colored acrylic paint, Baechler often furnishes his objects with a white halo that gives them a child - like cutout quality and makes them seem to float off the canvas.

The Splash engages the viewer with visible textures of dark paint on canvas juxtaposed a flat blue sky background with a white swirl of color, perhaps alluding a to «splash» of color.

Months afterwards the results of Martinez's stylistic shift — near mural - sized canvases of primary colored forms set against open white backgrounds — are shown on exhibition at The Journal Gallery in Brooklyn.

Mark Flood's enormous canvas situates a gauze fabric veil at the picture plane, behind which a chasmic depth is inferred; Christopher Wool's intimate monoprints blot a bright red mark atop a printed black and white background, condensing or collapsing the space of the image.

On arrival, visitors are greeted by four large - scale works that are illustrative of a typical Waterfall painting: thick horizontal lines made in the upper reaches of the 3 - metre tall canvas, from which rivulets of paint dribble down over a background, creating a dichrome image, often tending to shades of black and white.