Sentences with phrase «canvas staining technique»

Judd noted how Feeley had improved his canvas staining technique: «Also, as before, both bright colors are stained into unprimed canvas.

Not exact matches

The combination of unprimed canvas, synthetic paint mediums and techniques such as staining made it possible for them to paint in new ways, sometimes without a brush, to achieve the desired effects.

Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation, died on Tuesday at her home in Darien, Conn..

The staining technique with water - soluble acrylics made diluted colors sink and hold fast into raw canvas.

Using a technique that stained canvases with liquid color, it was a counterpoint to the aggressive brushwork of the then dominant style of Abstract Expressionism.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Done by staining diluted acrylic paint onto raw, unsized canvas — a technique Mr. Noland learned from Helen Frankenthaler — they consist of concentric circles in a variety of colors centered on a square canvas.

The technique used in this series, controlled pours and stains on unprimed canvas, became a vital breakthrough for the artist.

Whether he is working with hard - edged forms, staining canvas or demonstrating his gestural chops, Brischler evinces amazing fluency with a range of techniques.

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

Each group in the exhibition achieves this through their own distinct technique: the Abstract Classicists of Los Angeles worked in oil; the Washington Color School stained acrylic into their unprimed canvases; and the New York Op artists built up their acrylic on primed canvases.

During this period, she developed her influential «soak - stain» technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

An heir to first - generation Abstract Expressionism, she invented the technique of «staining» color directly into raw canvas, and was a leader among the Color Field painters of the 1960s.

The city's first major exhibition of Frankenthaler's work in more than five decades, the exhibition explores her return to gestural improvisation after years spent developing her «soak - stain» technique (soaking her raw canvas with turpentine - thinned paint).

With a unique pouring technique, Morris Louis achieved his intensely vivid hues by staining his canvases with Magna, a newly developed form of synthetic acrylic resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous color.

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is poured directly onto an unprimed canvas.

Effectively staining the canvas with paint, the technique subverted the figure - ground relationship associated with painting by blurring the boundary between form and surface altogether.

Jackson Pollock, for example, inspired her to develop her own technique of «stain painting,» pouring thinned paint onto unstretched, unsized cotton canvas to develop her artistic visions.

But then Frankenthaler, though she never departed from what was soon to become her trademark staining technique, in which she poured thinned paint, initially oils, then acrylic, onto raw canvas, leaving the paint, blooming and thinning at the edges, to sink into the weave but remain luminous, wasn't an artist who often repeated herself.

It's fascinating to see the diversity in Foulkes's complex formal language from his signature rag technique using rags to apply and subtract paint to the canvas in a way that anthropomorphizes the rock paintings into denim jean paintings, to the use of drips on the canvases imitating stains of a photograph, or over painting on top of collaged postcards.

Frankenthaler first began staining thin, luminous paint into raw canvas in the early 1950s, adopting Jackson Pollock's technique of all - over poured pigment but without the gestural drawing marks.

Louis and Mr. Noland adapted her technique for their more geometric paintings and developed a method of applying a thin, highly liquefied paint directly to an unprimed canvas, in effect creating a carefully controlled stain.

Second - generation Abstract Expressionist painter developed the technique of staining raw canvas with pigment.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

«She came forth with a whole new technique, taking the raw canvas and diluting pigments and staining it.

Continuing to use his technique, established in the 1950s, of staining unsized raw canvas with acrylic paint, here Noland has expanded upon it by not only painting the front surface of the canvas, but also working from behind.

While Louis borrowed staining methods from Frankenthaler, he moved beyond her techniques by erasing drawing and landscape elements from the canvases.

She gained fame with her invention of the color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»60s.

To create these works, Gilliam employed the technique of staining raw canvases with acrylic paint also employed by Morris Louis and Helen Frankenthaler to fundamentally new ends.

These beautiful paintings embrace accident, staining and the canvas fabric through a technique of pouring, staining and dripping.

She developed her famous «soak stain'technique, in which she applied paint thinned out with turpentine directly to raw, unprimed canvas.

Helen Frankenthaler, Yearning (1973): Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

Both men, under the influence of Ms. Frankenthaler, began experimenting with stain technique, thinning their paint and applying it to unprimed canvas to create translucent layers of color that revealed the canvas surface.

Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine - soaked canvas.

These works adopt the spray painting technique, staining both mounted and unmounted canvas in red, the colour of shale.

Helen Frankenthaler was one of the first artists to use the stain painting technique, pouring the paint mixture directly onto the unprimed canvas and painting shapes as they stained, Morris Louis started soaking his canvases and eliminating brushes completely from his practice, and several other artist started experimenting with spray painting and the use of stripes.

The artist's signature technique of staining an unprimed canvas with diluted paints is employed to dramatic effect here, with added translucent bands of white that glimmer and oscillate as sunlight might play across its surface, while darker greys and browns add depth, richness and dimension.

She continued to exploit the stain technique working primarily with large - scale canvases.

Evident in this work is Frankenthaler's signature technique of thinning her paint so that it elegantly stains the surface, allowing the viewer to glimpse the woven texture of the canvas.

A famous studio visit organized by the critic Clement Greenberg in 1953, which also included Morris Louis, introduced Noland to Helen Frankenthaler and her technique of staining unprimed canvas.

(Unfortunately the soak stain technique has proven a headache for art curators, as the oil in the paint comes into direct contact with untreated canvas, and eventually rots it.)

His former technique of staining and saturating wet canvases was replaced by a method in which multiple layers of thick acrylic paint and gels are scumbled, spattered, and built up on the canvas in a rich impasto.

Inventing the color - stain technique, in which she poured turpentine - thinned paint onto canvas, she is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting.

Fusing clear intention and virtuosic improvisation, Bowling called on his expansive repertoire of techniques to manipulate the surface of his paintings, whether on paper or canvas: pouring; staining; scratching; creating layered streams, pools and diffusions of gorgeous colour; interrupting currents with drips and splashes; scattering chemicals to create mottles and veins.

Her signature paint - thinning technique, in which she diluted the oil paint with turpentine, coupled with an entirely revolutionary method of staining (rather than dripping or brushing paint onto) the canvas undoubtedly changed the course of art history and influenced the likes of Kenneth Noland, Morris Louis and Jules Olitski.

She also developed a technique for staining unprimed canvases with color, first using it in Mountains and Sea (1952, National Gall.

That possibly oldest entry is a large, immersive 1974 Sam Gilliam canvas that combines the Washington Color School's watery staining technique with flashes of thick silver paint.

By pouring acrylic paints onto a length of canvas and then folding it over on itself while still wet, or vice versa, he created prismatic spatial effects and unexpected color combinations, pushing the brushless staining and soaking techniques also employed by artists like Thomas Downing, Morris Louis, and Kenneth Noland to a newly lyrical extreme.

She primes her paintings with rabbit skin glue (an old technique), then stains her surfaces with dry pigment so that the entire canvas remains luminous and full of variegated color, not dissimilar from Rothko's paintings.

These boldly painted canvases employing the soak and stain technique, found in many examples of Abstract Expressionism, and championed by Helen Frankenthaler, reflect Jones» love affair with the process and language of colour and the process of making paintings.