Sentences with phrase «color on canvas works»

While black dominates the works in the exhibition, the artist also employed passages of color on canvas works to explore patterns and create a new visual language.

Not exact matches

I paint with oil colors on to canvas, and l feature photo - realism in my work.

Working with Kim, our director, our feline friends interact with and manipulate water based colors on a canvas to determine the theme, direction and texture of each «masterpiece».

The show features works by Charlene Broudy who finds inspiration in the vibrant colors of Costa Rica, new works by Carolyn Fox featuring luxuriously wide flowing lines suggesting rock, water, sand and sky, and Steven Gilbar, a self - taught artist who experiments with mixed media and collage on paper and canvas, drawing from this histories of both mediums.

the interview was very informative and it makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will work out sales special interest groups in other social networks this is just another journey a new color on the canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints of my work all with in a week end among friends I have now professionally digitized my work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all

Andrew Masullo works on small canvases with unmixed oil paint in high - keyed colors.

Serving as both a complementary as well as antithetical offering to his film, Mathias Poledna has created a new suite of 36 works on canvas in a single color.

The Red Rocks series, whether on canvas or paper, are characterized by the kind of rich colors (reds, violets, yellows, deep oranges) not seen in Marden's work since the 1970s.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases.

In the case of Seeded (1960), the first work on the right as visitors enter the gallery, these colors are amalgamated in an energetic mass of swirls, curves, bold lines, and planes of color that are further enlivened by patches of canvas left bare.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Angelina Gualdoni's works on canvas take patterns, interiors and abstraction as their main focus, locating the rhythm of the everyday sublime in the language of color field painting.

Only one of two works in which Warhol highlighted the actress's unusually colored eyes, this canvas was last seen on the market in 1989.

Gilliam, an internationally known artist whose work is influenced by Abstract Expressionism, is recognized for his Color Field paintings and pioneering works on unsupported canvases which he first introduced in 1965.

Basing his work on the interaction of colors and shapes, his practical geometry developed into an «intricate halftone technique» applicable on both on canvas and in large scale murals.

He has achieved brilliant effects by introducing new colors, mixing various media on a single canvas and working with new tools.

Busch, a Danish artist showing works for the first time in the U.S. with VSOP Projects, manipulates the top canvas by cutting and twisting narrow strips, exposing gradients of color on layers of canvas beneath.

The exhibition New Works features Thomas» signature digital prints on canvas; among them a large triptych depicting Thomas» eye catching and sophisticated orchestration of numerous cut rectangles of colored cloth.

The treatment of color pulses with an almost thermal intensity at the core of Black Coal Bay, a large - scale mixed media on paper work, and it deftly dances around the powerful black architecture of Stacked Black, an acrylic and gouache on canvas.

The new work, presented on paper and canvas, is bold in color and assumes a striking complex simplicity.

All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from paintings on canvas & board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.

In this, the artist's first solo exhibition at Marlborough Gallery since 2013, Güneştekin lends his signature detailed, combed brushwork, rich symbolism, graphic lines and intense color schemes to artwork in textiles, ceramics, and metal, in addition to oil on canvas works.

The new works, most of which were painted on canvases are of varying sizes and feature bright colors and detailed, multilayered compositions.

Varejão's first solo U.S. museum exhibition is currently on view at ICA Boston featuring among other works, «Polvo Portraits» (shown above), an oil on canvas series referencing Brazil's 1976 census, in which citizens were given 136 options for describing their race in terms of color.

BASIM MAGDY: THE STARS WERE ALIGNED FOR A CENTURY OF NEW BEGINNINGS The work of the Egyptian - born artist Basim Magdy ranges from paintings on paper and canvas to photography and film, all with a common devotion to color and an exploration of the gap between utopian aspirations and human failures.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

To its right, de Kooning works patiently on a canvas, his gaze fixed on nothing but the application of color.

These photo emulsion works also point to Thomas» color work of ten years later that uses fabric, drawing fragments and scraps of torn photographs to make pigment prints on canvas.

Not only does the color of the letter «U» vary from work to work, but on closer inspection one notices how the image on each canvas is uniquely distressed.

As spacious and sleek as the work itself, this monograph reproduces two sculptures from 2004 and 2005, along with 17 new paintings dating from 2007 and 2008, eight of which consist of a black or white rectangle with a contrasting black, white or colored rectangle placed diagonally on top and extending beyond the boundary of the canvas below.

Jennings began as a Color Field painter, working on canvas and linen, and maintained a studio at Waverly Studios in New York City.

Her work looks so familiar, from the spare, nuanced, off - kilter color fields of Ellsworth Kelly — or the clear patterns, rigorous logic, and insistence on canvas as a material object of Frank Stella.

Mitchell worked for the most part on large - scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

Still, her work was not marred by ideological concerns; what fascinated her was the breadth of humanity that she encountered in her studio, on canvas... Alice Neel, Uptown, the first comprehensive look at Neel's portraits of people of color, is an attempt to honor not only what Neel saw, but the generosity behind her seeing.»

For me, experiencing the work of Januszkiewicz is a moment of reflection, the recollection of a memory or simply an appreciation of some of the deepest, truest colors I've ever seen on canvas.

Gorky often used his works on paper as studies, shifting configurations and colors before further interpreting a composition on canvas.

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.

Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal and paint.

Two years later, he started work on his famous New Bride (1961 - 1963), an abstraction of thick white impasto, with flecks of pale color, painted on a nine - by - seventeen - foot canvas.

In his work on canvas «Curtain», the artist plays with his love of color, abstraction, and fascination with waves.

Gesture and color occupy positions of prominence in each of the works on view: from the drawn effect of Cumberland's hastily «colored in,» stenciled circles to the thick, bold wipes rippling across Syed's canvases, and the doodled glyphs floating above Brett's patterned backdrops.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases - Anna's Light (1968), named in memory of his mother who had died in 1965, is his largest work, 28 feet wide by 9 feet tall (8.5 by 2.7 meters).

Lines / Edges: Frank Stella on Paper features a range of Stella's experiments on paper including early translations of his Black series and shaped canvases, magnificent color woodcuts and screen prints from the 1980s, and the Moby Dick Deckle Edges, an impressive nine work grouping of large - scale prints from the early 1990s based on Herman Melville's Moby Dick.

Seeking to sustain translucency and increase density in the color overlays, Jenkins first worked in the new water - based acrylic in 1960 and it soon became his preferred medium for painting on canvas.

A main proponent of color field painting, Davis worked on canvas and paper, and also created large - scale public artworks, and light sculptures.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

On the other side of the world, in Italy, Lucio Fontana worked in a similar way in his «Spatial Concept» series simultaneously — his signature was a slash, sometimes several, on single - colored, cloth canvaOn the other side of the world, in Italy, Lucio Fontana worked in a similar way in his «Spatial Concept» series simultaneously — his signature was a slash, sometimes several, on single - colored, cloth canvaon single - colored, cloth canvas.

Upon initial inspection, the canvas bore some characteristics of Red Mesa, a work on linen, at least in terms of form and color.

Her work is abstract, with pools of color, and usual painted with acrylic on canvas.

Loretta's acrylic on canvas ««Sere Deconstructed II: Circle Of Life Series» is one of 36 works selected from over 400 entries for the 37th Annual Faber Birren Color Award Exhibition.