Sentences with phrase «canvas over the red»

Not exact matches

S / N WP0EB0915KS170518 Velvet Red with brown canvas top over red leather seaRed with brown canvas top over red leather seared leather seats.

Once at sea, a crane normally used to lift buoys was deployed to lift the specially fitted red canvas sling containing J.J. off the ship's deck, over the port - side rail and into the water.

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

A painterly scaffold of olive, prussian blue, white and crimson over collaged strips of canvas and newspaper is paired with an abstracted white and brick red outline of a wooden chair i...

Mr. Prince's looming red canvas, over seven feet tall, is one of his many joke - text works.

He achieved this effect by hammering scores of carefully placed nails into elaborate wood supports, stretching the canvas over their protruding heads and then painting it, usually white but also silver, red or black.

The paintings include large, textured, stained, all - over canvas creations like Schwabacher's Antigone I, from 1958, a 51 x 82 1/4 inch canvas of blood red, ochre, black, blue, gray and white markings that is a figurative abstraction of the Greek myth.

Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, and form.

Sometimes, as seen in 2008 at Gagosian, he brushes white paint over canvas saturated with sprays of red and blue.

The muted pink, turquoise and ochre hues that expand over the canvas have echoes of his early landscapes but are clearly on the way to becoming the red, blue and yellow that mark Mondrian's modernism.

Among the works that did well were Lot 140, «Model for T.W.U.,» a maquette for a larger work that was installed on West Broadway in SoHo in 1981 - 2 by Richard Serra (b. 1939), which sold for $ 123,500, more than twice its high estimate; Lot 181, an untitled 1984 work by Keith Haring (1958 - 1990) that sold for $ 101,500 and had had a high estimate of $ 70,000; Lots 119 and 120, both by Christopher Wool (b. 1955), that sold for $ 96,000 and $ 79,500, and which had both carried high estimates of $ 35,000; Lot 131, «Negativert,» a large interesting 1983 work by Sigmar Polke (b. 1941) that sold for $ 96,000, a bit over its high estimate of $ 90,000; Lot 132, «Abstract Painting 816 - 3,» a 22 by 20 1/8 oil on canvas that resembles a melted multi-colored metal red, white and blue flag by Gerhard Richter (b. 1932), that fetched $ 79,500 and had had a high estimate of $ 0,000; and Lot 134, «Dein Ashenes Haar Sulamith,» a very fine 1981 work by Anselm Kiefer (b. 1945), shown at the top of the article, that sold for $ 79,500 and had a high estimate of $ 70,000.

Lisa Beck, «Red Sky at Night,» 2014, Enamel paint and oil paint on mylar fabric over canvas 40 x 30 in.

In the former, Snyder has built up her oil and acrylic on canvas with paper mache, fabric, pastel, graphite, glitter, dirt, and straw, resulting in a three - dimensional impastoed surface that begs to be touched, and that features the word «requiem» (twice) in red paint and glitter; the latter features an all - over composition with lusciously applied pastel - colored paint in big, sweeping gestures, combined with repetitive circular and floral forms.

♦ Mitchell - Innes & Nash: Alexander Liberman's target - like «Black and Red Circle» from 1960, a 24 by 30 oil on canvas, sold in the $ 50,000 range; Anthony Caro's glass, bronze, and steel «Display,» from 2011 - 12, went for a bit over $ 100,000; and among the living artists, Virginia Overton's Arte Povera - like «Untitled» wall piece sold for around $ 25,000.

I was admiring what I was sure were paintings by Luisa Rabbia at the estimable Peter Blum gallery when the artist was summoned to point out that the lusciously colored, sweeping canvases were drawings, spiraling pencil marks and delicate fingerprints floating over the veils of indigo veined with red tributaries.

In the new YARD paintings at Gagosian Rue de Ponthieu, Ruby uses rollers and brooms to spread a soft palette of red, blue, green, and purple acrylic paints over unprimed canvases laid directly on the studio ground; incidental debris and textures beneath the canvas emerge as impressions during the frottage process.

Artists include: Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, and form.

In Untitled (December) from 1969, two deep red lines — one uniform, one not — arc across the pale field of the canvas to the edges, where they extend over the sides.

Circuits of black racing over gorgeous tracts of blue, green, and red (in acrylic), Robert Mangold's expertly traced loops and ellipses are extraordinary freehand displays of a virtuoso who has been steering his course along shaped canvases for five decades.

In «Two Whites Over Antique Red Over Cadmium Red» (2013), the left and right sides of the canvas are separated by what The New Yorker referred to as a «Newmanesque zip.»

it's just plain canvas and standard acrylic craft paint in an oval hoop, over which I embroidered with some long straight stitches for snow and some french knots for red berries.