Sentences with phrase «circles painted with»

In the house I grew up existed the 80s a huge alpha in a circle painted with a brush, I do not know when and who did it, but I can not say I have seen something more interesting since then, in the wall.

Not exact matches

Circling back to the idea of painting with light, consider that the next time you sit down to eat something fresh.

My first idea was to print the spots on using a cotton reel — but after a practise on some card — J needs a little more printing practice before we can print circles on as he instead loved to paint with the cotton reel instead of printing which was so much fun — but that is a completely different post.

Kids can stamp circles with wine corks and turn them into an adorable baby chick Easter painting.

You can paint your nails with the blue gel nail polish to grab some eyeballs at fashion circles and glamorous dos.

I didn't want to stick with a basic white linen, so I created a custom circle runner using fabric paint and stamping interlocking circles down the center of the linen.

I used sponge daubers - which I love - and gold acrylic paint to stamp circles on the hearts, keeping with the gold theme.

After the white paint in the circle dried, I painted a basic pumpkin shape with orange craft paint.

First, I filled in the chevron pattern with navy and yellow craft paint then I added more white craft paint to the circle.

To make your own Mini Crayon Wreaths, you will need: (4) 24 count boxes of crayons 2 wooden circles Chalkboard paint Paint brush Hot glue gun Ribbon Begin by painting your wooden circles with the chalkboard paint...

It paints a community of people who most of us are associated with through their fame all centering around someone who, up till now, has been to the majority of anyone out of this circle, an unknown.

1977 also saw an update from the charcoal painted hubcap style (with a chrome Z floating in the amber center emblems) to a hubcap that resembled an alloy wheel, bearing a center cap with a chrome Z floating in a black circle.

Thus began a restoration project that brought the historic Corvette back to its glory days — complete with the purple paint job with white coves, a white circle on each side and hood with black numbers, as well as original graphics and designs.

Inside, Flex Titanium continues to impress, with charcoal black leather - trimmed seats with gray Alcantara suede inserts, circle check appliqués on instrument panel and doors, painted alloy metallic finish on center stack and door panels, a perforated leather steering wheel and illuminated scuff plates.

It will be on display with the museum throughout the autumn and Herd plans to regularly mow it in concentric circles similar to the Dutch artist's iconic painting style.

Smith writes: «In effect, Mr. Ryman has spent his career circling Point A, proving that there are an infinite number of ways to meet painting's basic requirements... It helps to think of Mr. Ryman as a kind of philosopher - carpenter with an inborn, almost mystical love of paint as paint.

The German abstract figure painter, who became widely known in the»80s along with Jörg Immendorff - associated circle of friends Werner Büttner, Georg Herold, and Martin Kippenberger, often painted interiors, self - portraits, landscapes, language fragments, and diverse abstractions.

Her playfulness makes the most of that dimension, too, with the familiar toolbar of filled circles and freehand curves the mostly thickly painted.

Like a procession of Japanese monks with black robes and shaven heads, the 13 late paintings by Ad Reinhardt circle a large white room at David Zwirner Gallery: ascetic, elegant, identical at first glance but subtly different on closer inspection.

In other paintings Nolandesque circles are ringed with far more fanciful concentric forms, inviting with equal ease viewers in search of a meditative experience and those hungry for intense visual pleasure.

They include scenes from Andy Warhol's daily life at the Factory: Warhol on the infamous red couch, shopping at a nearby Gristedes for Brillo Boxes and Campbell Soup cans, socializing with his glamorous inner - circle at parties, filming, and posing with his flower paintings as well as the «The American Man» suite.

Meanwhile, the voidlike burgundy circle, traced in royal blue, nearly resembles a rectangle with a convex side (it's that huge) except for two tiny white corners on the painting's extreme left, forcing the circular shape to retain its Euclidean stability.

Off - site galleries offered strong artist - is - present showings: at Central Fine on Normandy Drive, airbrushed paintings by Hubert Bush; at Emerson Dorsch, Back On Earth, hatched by Miami locals, Hugo Montoya and Brandon Opalka; at Locust Projects Daniel Arsham's fierce intervention into the gallery floor, 25 feet wide and up to 3 feet deep, filled with artefacts from the recent past (a bashed - up guitar, a push - button telephone, radios, blown tyres — painstakingly recreated in concentric circles of volcanic ash, crystal and steel, and all sourced from eBay.

A 25 - year - old Wesleyan grad, Alex Chaves is gaining a following in Los Angeles for his portraits of people from his artist social circle that he paints amid a bevy of art - historical references — for instance, just look at Keke, with its mashup of Les Demoiselles d'Avignon, Matisse's Red Studio, and van Gogh's sunflowers.

Due to the rapid revolution of the plates, together with a systematical range of circles the prints contain an irregularly spreading field of paint, as though the artist's sharp sensitivity is being diffused from within the picture plane to the outside world.

The centerpiece of the exhibition, Cityscape (1952), which can be absorbed thankfully without glass over it, is painted on nubby linen, the interstices of which fill with patterns of white paint circling little studs of grey, like the mother - of - pearl disks of a pair of cufflinks.

Performance is so crucial to that shift — the dialogue between Cindy Sherman and other artists in her circle like Longo or David Salle, who went to CalArts with all the dance and performance art and turned it into paintings.

Jirō bows to tradition, too, as with a calligraphic black painting broken by a white impasto circle.

Her canvases - some unusually large - are filled with grids and intersecting circles, simplified flower forms, gonad - like shapes, flattened cubes, painted numbers, stray, sometimes invented words, spirals, weird vectors, loop - the - loop lines, pyramids and sunbursts.

Below, he placed a circle with much rougher edges, from paint smeared out in all directions.

From being greeted by Katharina Fritsch's disturbingly hip, pony - tailed Händler (Dealer)(2001), with his one cloven - hoof, to Richard Prince's appropriated Marlboro Man photograph Cowboys, to David Hammons's arcing circle of glued together liquor bottles Untitled, to a huge room - full of Jim Shaw's profoundly weird collection of Thrift Store Paintings (1970 - ongoing), Unexchangeable does the remarkable task of restating the problem of art's paradoxical position between exclusivity and ordinary life, poised between rarity and abjection.

The Brazilian - born artist works with photography and painting to make mixed - media artworks that take cues from John Baldessari's renowned dot works by painting circles and geometric lines over black - and - white photographs of landscapes.

Although she sometimes ventures beyond her circle (her dream subject, she says, would be Joan Didion), the series is in part a valentine to creative souls with whom she has forged an enduring connection, as much as a study in contemporary portrait - making that alludes to historical painting.

Around 1966, one year before Reinhardt died, I was in France doing square paintings that were all the same, with the same pattern repeated — a black circle on a white surface.

Recalling the exhibition's title, the circles might represent the standard, with the rest of the elements in the painting being the deviation.

Organized by Suzette Lane McAvoy, the museum's adjunct curator of contemporary art, it presents canvases from every phase, beginning with early, freely painted concentric circles and going through the more rigorous chevrons, diamonds, plaids, asymmetricals and stripes of later years to his recent «Mysteries» series, which revisits the concentric circle motif of his youth.

The same violet paint defines two circles of soft, irregular contours that ring the center, the inner one with a streak of grass green echoed in the outer ring by a streak of deep purple.

This painting depicts Rose's circle of the period, including Jean Cocteau, who he first met in Villefranche in the mid 1920s; Gertrude Stein with her partner Alice B. Toklas; the artists Francis Picabia, Pavel Tchelitchev and Christian Bérard; the ballet dancer, Serge Lifar; and the American writer, Natalie Barney.

Other participants — including Robert Rauschenberg and Jasper Johns — were charged with painting circles and lines, over and over again, on both sides of a canvas stretched vertically in the middle of the main room.

Eight years later and back at Gagosian, more than a month has passed, along with hundreds of paintings and untold thousand of colored circles.

Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

Back in New York, immersed in the circle of artists known as the New York School and with Cage and Cunningham's avant - garde influence as a foil, Rauschenberg explored many of the central ideas of Abstract Expressionism, both acknowledging and transgressing the movement's emphasis on gesture, individualism, action, and direct expression through paint.

The painting is soft but insidious, and further riled by three opposing walls in muted tones with silhouettes of circling shark fins.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Noland and Louis began to experiment together, staining with the new Magna plastic - based paints, which eventually led Louis to his renowned «veils» and Noland to the circle paintings.

It was also reflected in his technique of painting on the floor, circling over the canvas with his own body.

While his paintings often feature loose grids of circles, stripes, or birds, the impetus behind his painting is often dark, with a focus on loss, death, and memory, especially in relation to the AIDS crisis that has influenced his work for the past two decades.

A flamboyant character and a key figure in the Ferus Gallery circle in Los Angeles, Billy Al Bengston is associated with West Coast Pop and best known for spray painting dented sheets of square aluminum with lacquer.

There are paintings of patiently palette - knifed landscapes with fantastic, Solomonic temples in walled cities, a seascape or two, some imaginative female nudes that are both lush and fluid (cousins to Niki de Saint Phalle's Nanas, Picasso's extrapolations of Marie - Thérèse, and Chagall's airborne brides), several cursive abstractions of curves and circles moving in a similar fluid velocity to the nudes.