Sentences with phrase «canvas on its stretcher»

Ms. Siegel has done her best with the academy's galleries, carefully sorting artists who stuck to canvas on stretchers and those who set out for points unknown, including the floor and the video monitor.

Rutault stayed with painting, but followed his «de - finition / method,» using store - bought canvases on stretchers — circular, oval, and rectangular, and in various sizes — painted the same color as the wall, and optionally but traditionally arranged.

In Creede I and Creede II, both 1961, Stella's signature bands replicate the shape created by the canvas on its stretcher while emphasizing its flatness.

Not exact matches

The canvas is professionally hand - wrapped on non-warping, sustainable wood stretchers.

The canvases are mounted on MDF stretchers.

John Zurier mounts a painting on a canvas stretcher at his Oakland studio.

He is renowned for being one of the first artists to make the radical gesture of taking the canvas off the stretcher and hanging it directly on the wall in works such as Purple Octagonal 1967, as well as making provocative sculptures such as Third Rope Piece 1974, the intimate scale of which directly responds to traditional ideas of monumental art.

In José Lerma's compact exhibition, squiggly blue lines that look like ballpoint - pen doodles form twin columns of piled spirals, rising up on either side of John Law, a large unprimed canvas on beveled stretchers.

A Joyous Disintegration Through Mutualism 2012 Cel - vinyl and aerosol lacquer on gessoed canvas over aluminum stretchers 54 x 48 inches (137.2 x 121.9 cm)

He did away with easel stretchers, preferring to drape huge canvases like laundry on a line.

Oil on canvas with broom, sculptural towel, stretcher and cup.

Frank Stella (b. 1936) Lettre sur les sourds et muets I signed and inscribed «F. Stella» 75» (on the stretcher) synthetic polymer paint on canvas 141 x 141 in.

Rather than assembling a group of artists who are concentrating on the demise of traditional painting supports — torn, shredded or punctured canvasses, exposed stretcher bars, paintings hung backwards, oddly shaped canvases, painting as sculpture, etc... this exhibition will focus on works that address time as a subject, or are time - sensitive.

Inscribed on the stretcher» «GIFT» 1962», «Top» with an arrow, and «KENNETH NOLAND»; and on the back of the canvas» «Clement's Gift» 1962 Kenneth Noland» Acrylic on canvas, 72 x 72 (183 x 183) Presented by the artist through the American Federation of Arts 1966 Prov: Clement Greenberg, New York (gift from the artist); the artist Exh: XXXII Biennale, Venice, June - October 1964 (USA 17, repr.)

Simon Denny, Canvas Work Game of Life Cover, 2017, Royalpainting.com commissioned painting (oil on canvas), UV print on canvas, custom stretchers, 45 1/4 x 65 x 3/4 iCanvas Work Game of Life Cover, 2017, Royalpainting.com commissioned painting (oil on canvas), UV print on canvas, custom stretchers, 45 1/4 x 65 x 3/4 icanvas), UV print on canvas, custom stretchers, 45 1/4 x 65 x 3/4 icanvas, custom stretchers, 45 1/4 x 65 x 3/4 inches.

Stellas's canvases were on thick, three - inch stretchers and the painting therewith became an object.

Christopher Wool (b. 1955) Untitled signed and dated «Wool 2003» (on the stretcher); signed again and dated again «Wool 2003» (on the overlap) enamel and silkscreen ink on canvas 78 x 60 in.

Zane Lewis, Untitled (TOKER), 2015 Lacquer on canvas w / aluminum stretcher.

In a second series, canvas peels away and hangs down from the center of a rectangle on stretcher, as if sticking out its tongue.

Willem de Kooning (1904 - 1997) Untitled VII signed «de Kooning» (on the stretcher) oil on canvas 77 1/2 x 88 in.

Composed of arched stretchers, joined to irregular polygonal shapes, an interior shape was defined in precisely painted on raw canvas.

Gilliam was a critical figure within the colour field school and is recognised for his unique idea of draping a canvas, painting on it as it hung without a stretcher.

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.

The latter being a series of archival inkjet prints on transparencies and canvas that are layered and stretched onto traditional stretcher bars.

A woven canvas on a wooden stretcher, Slice II resembles a conventional abstract painting at first glance.

Drawing on the traditions of Abstract Expressionism, he creates strongly articulated pieces: canvases on heavy stretchers, abutting panels and architectural constructions that project themselves into the viewer's space.

In Delphi (1965) the artist is both present and absent, partially concealed by a stretcher, the same stretcher which now supports the canvas on which the photograph is printed.

The stretchers that are normally hidden from sight and allow the canvas to become a picture exhibited on a wall, now become the physical object around which the viewer can move and look through.

In Untitled [black painting with portal form] the canvas does not wrap around its stretcher on all sides.

Bare canvas and pencil lines visible between the stripes insist on the object and its making, and so does the wood of the stretcher, set thick dimension out.

Woven canvas on wooden stretcher, 80 x 60 in.

Canvas is wrapped around 2» stretcher and painted on sides.

Monochromatic and painted on canvas, Jennifer Boysen's most recent works are distinguished primarily by the originality of the structures that serve as their stretchers, objects that she has either found or made, and that present a certain variety in terms of shapes, dimensions, and materials — wood, copper, steel, aluminium.

Cordy Ryman often paints stripes on recycled wood, as if canvas had fallen away to leave only the stretcher that once gave it shape.

(on the stretcher) gloss household paint on canvas 83 7/8 x 92 1/8 in.

Although I'd painted on stretched canvas for many years before switching to panels (and had nearly always stretched my own), I had never heard of a panel stretcher before running across a brief description of it in The Painters Handbook.

Agnes Martin (1912 - 2004) Love signed and dated «a. martin 2001» (on the reverse); titled «Love» (on the stretcher) acrylic and graphite on canvas 60 x 60 in.

In Butler's interpretation of Martin's pristine geometry, the canvas is stretched all wrong, exposing the wooden stretcher on the top with fabric bunched up below.

Inscribed «Patrick Heron» and «March 1957» on back of canvas; «Scarlet Lemon and Ultramarine 24» x 72» March 1957» on stretcher.

Made on 1» x 2» stretcher bars reinforced with plywood and covered in canvas, she approached these heavy, weighty structures as she would have a gestural painting.

Another good Lichtenstein is Lot 14, «Stretcher Frame with Vertical Bars,» an oil and magna on canvas that measures 36 by 68 inches.

All of my acrylic paintings are painted on a cotton or linen canvas that is secured to a wooden stretcher frame for support.

The kind of paint (and the way the paint ought to be treated, which is really the same thing, for a given painting) depends on the particular spatial or object quality of the canvas, which depends on the scale of the stretcher.

On high quality canvas and stretcher, ready to hang.

One of the relative constants amidst the variety of these paintings is the previously mentioned imprint of the grid of the stretcher and crossbars on the canvas.

Oil and collage on canvas in artist's frame 7 7/8 x 7 7/8 inches Signed, titled & dated in pen on the stretcher «Richard Pettibone 1967 Jasper Johns The Disappearance 1961» Inscribed verso by the artist in green felt tip pen «J # 54»

I dragged the blade across the stretcher bars to make marks on the canvas.

Compound Flat 50, 52, 59, and 58 (subtitled Pink Dropout) are based on stacked double rectangles, suggesting open sash windows — or, again, stretcher bars — divested of their glass or canvas, with swaths of fabric (actually pigmented epoxy) inserted into the mechanisms, holding them in place, or together; the window idea is borrowed, of course, from traditional painting.

His allegiance to the stretched canvas was so unlike anything else shown in France at that time — an era dominated, in terms of avant - garde painting, by the Supports / Surfaces dogma of the loose canvas (la toile libre, literally the «free» canvas, freed from the stretcher)-- that he exerted a powerful fascination on younger painters even though they could barely figure out his work.

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.