Sentences with phrase «colored square painting»

My bedroom has had various color squares painted on the since before my daughter was born (when I was preggo and indecisive)... she is now almost 3!

Not exact matches

The restaurants are painted in warm, inviting colors with light that emphasizes the different stations like the central hearth where the bakers work their magic and the «bakers» area where square bagels called «Squagels» await the morning crowds for breakfast.

It's a square stone building with shutters painted red and white, matching the colors of the Swiss flag that's planted at every shelter in the mountains.

And it was from these half - done quilt squares that I found the wall color for this room (paint post here), and this comfy family couch, and nearly everything else I've gathered here.

Before I go, a quick source list for you: - wall color: Barcelona Beige by Sherwin Williams - rug: Overstock.com - lamp: Homegoods - birdcage: Hobby Lobby - small square frame: Pottery Barn - large frame: family antique, but here are some suggestions if you'd like to paint a similar one - all the rest (books, box, large frame, chandelier) are antiques... sorry I don't have sources for those!

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So, after many months of contemplating whether to paint the cabinets (after 11 years it was time to address the wear and tear), researching how to paint them, choosing paint colors, painting the back splash, sanding every square inch, priming every square inch, and painting the cabinets, I am thrilled to share our «brighter» kitchen.

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You picked your polish (most likely red), got your nails filed (square shaped, duh) and received a pretty decent hand massage before heading home with nails painted all one color.

Sources: Main Room Paint color — Benjamin Moore «Winds Breath», mixed at 75 % saturation Striped Rug - Dash and Albert Yacht Stripe (3 rugs sewn together to get the large square size) Lantern - Urban Electric Co, custom finish («seaside bronze» washed in a white to soften it up) Bedroom paint color — Benjamin Moore «Fanfare» Blue Quilt and Shams — Pottery Barn Sheets — Pottery Barn Seagrass Lamps — Arteriors Home

Players connect matching colored squares by dragging lines across the correct number of spaces, which in effect paints pretty pixelated pictures.

All manipulatives (22in x 34in Work Mat, Wooden Tray, 100 unit cubes, 27 ten rods, 27 hundred flats, 17 1000 cubes (1 plastic, 16 oak tag), Foam Ball, Balance, Mirror, Ruler, Crayons, 2 Dice, 108 Color - Coded Number Cards in partitioned wood tray (3 each of 1 -9,10-90,100-900,1000-9000), 108 Number Tiles (27 each of 1, 10, 100, 1000), 14 Operator Cards, Dominoes, Probability Bag with Tie, Geared Clock, 1 1 - cup Measuring Cup, 1 2 - cup Measuring Cup, 64 Painted Wooden Geometric Shapes (Diamond, Circle, Heart, Square, Rectangle, Trapezoid, Parallelogram in assorted colors), plastic coins, and pencil)

Here a collage made from dried leaves by Josef Albers, an abstract textile by Anni Albers and a marvelous early Ray Johnson painting called «Calm Center» of nested colored squares — along with affectionate letters exchanged between all four colleagues — together help explain where Asawa's magic came from, and how it would spread.

During the 1930s, Graham continued to push abstraction with still life paintings that employed a minimum of color and linear forms with titles that affirmed his commitment to the style, such as Red Square, 1934, and Abstract Composition, 1941.

In the paintings of Los Angeles - based artist Patrick Wilson, layered squares of color attain unbelievable levels of transparency and rich density.

Spanning two floors of the 24 Grafton Street location in London, the exhibition will feature works that relate to the artist's ongoing series of «collage sculptures» begun in 2016, characterized by square steel tubing that has been crushed and bent into soft folds that belie their material construction, then painted in a uniform color and variably combined with found pieces of scrap metal and a smooth, highly polished steel disk.

Precise compositions of squares and a considered rhythm of colors beckon the viewer past the painting's surface and into a space that grows more and more palpable.

During the summer of 1966 Dan began his series of 100» square, bar paintings that were generally in two colors; fields of rich earthy colors and bars which were usually green, black, brown or gray.

Ushering in a new era in his work, Stella arrived at color with the first Concentric Square paintings, never to make a monochrome painting again.

Instead of parsing the grays and the colors into individual squares on the same canvas like earlier Concentric Square paintings, Stella combines them, resulting in a dizzying clash between the two essential components of color, hue and value.

Or, «Maybe this Stanley Whitney painting of colored squares isn't the best one, and maybe the one he makes next will be the best one.»

Boycotting the idea of design or arrangement, and encompassing the entire color spectrum, Steir divides her square paintings directly in the center of the canvas.

His small paintings seem assembled from strips of colored tape on an off - white ground, in slightly off - kilter and incomplete squares and diamonds.

On one wall of «Organic Geometries,» small colored dabs of paint and wood break ever so slightly out of their squares.

In 1966, artist Gerhard Richter began painting simple, uniform grids of colored rectangles or squares...

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.

Within the grids and lines on the canvas are not small squares of flat, immobile color, but drips and dimples of very active paint — as if each square could also be a composition unto itself.

Their rarefied atmosphere is circumscribed by rigorously defined and scrupulously observed parameters: Levine paints only with primary colors and white, each monochrome is contained by a razor - sharp border of raw canvas, all of the pictures are minimally off - square.

Josef Albers is best known for the hundreds of paintings and prints from his series Homage to the Square, which explores the interaction of colors within a composition of three or four nested squares.

For the exhibition, Kusama has created a series of brightly colored, square - format paintings, the majority of which measure over six feet.

According to Ann Edison Gibson's essay Norman Lewis: Black Paintings, 1946 - 1977, this series is one of the artist's major achievements: «the Seachanges deserve to be considered along with Mark Rothko's late dark paintings, Franz Kline's late black - and - color paintings, and Ad Reinhardt's deeply black square paintings as landmarks of late Abstract ExpressionisPaintings, 1946 - 1977, this series is one of the artist's major achievements: «the Seachanges deserve to be considered along with Mark Rothko's late dark paintings, Franz Kline's late black - and - color paintings, and Ad Reinhardt's deeply black square paintings as landmarks of late Abstract Expressionispaintings, Franz Kline's late black - and - color paintings, and Ad Reinhardt's deeply black square paintings as landmarks of late Abstract Expressionispaintings, and Ad Reinhardt's deeply black square paintings as landmarks of late Abstract Expressionispaintings as landmarks of late Abstract Expressionism.»

Later he began his Protractor Series (71) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side - by - side to produce full and half circles painted in rings of concentric color.

Paintings starting in 2012 build on small squares of primary colors, with the brightness and opacity of acrylic, but they gain in intensity from orange and a paler blue as well.

Like a puzzle, Carlos Estrada - Vega's colorful compositions are subdivided into a grid - like series of squares or rectangles, each uniquely colored and textured with hand - mixed oil paint.

All the works in the Pond series are square format — at the heart of the exhibit are seven paintings, each 60 x 60 inches, composed of shifting color fields with ruled lines hovering over the surface.

Opening this book is a series of exquisitely produced color plates of brightly colored, large - format square paintings.

While antithetical to traditional landscape painting, the square canvas, with slight compositional variations of placement, scale, color, and architectural imagery, is appropriate to her modernist subject matter.

Ryman reduces his paintings to the bare minimum: the square format and white color (he uses an extremely reduced vocabulary) but his work is varied because he changes the scale and the texture.

In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips.

A six - foot - square painting, in his signature grammatical play of blocks of color and horizontal bands, will go a long way towards animating the stand.

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

Until the mid-1970s he produced paintings that, responding to minimalism's limitations, examined the codes of visual language through a calculated placement of colored bars around monochrome squares.

I've limned each painting to charge the intensity of its color field and intensify the square shape of each painting.

His two large paintings, Yesterday, of colored moundlike shapes atop one another and receding in scale, and Carrying, ultramarine squares divided by a white grid accentuated with red squares (sound familiar?)

Trippy optical illusions created by Richard Anuskiewicz («Summer Sunset Reds,» 1982) and British artist Bridget Riley («Shuttle II,» 1964) and an earlier op - art piece by Victor Vasarely («Ixion,» 1956) share the space with color works by Ellsworth Kelly — beloved by the Atheneum as the first artist in its long - running MATRIX contemporary - art series — Barnett Newman, Paul Feeley and two of Josef Albers» «Homage to the Square» paintings, which complement two works by John McLaughlin.

Tadasky works differently, applying paint as raw color without taping, using the proximity of his rings to create optical blending in his circle - in - the - square compositions.

Another body of smaller paintings, each twenty by twenty inches, present grids of nine squares that pulsate in fantastical color, suggesting cross-like patterns that underlie the compositions.

Selections from Albers's own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction,») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers's prints.

The finished paintings are pristine, but also carry evidence of the artist's hand — a subtle bloom of color along an otherwise flawlessly straight line, a slight whimsy in the corner of a square — always inviting the viewer to slow down and examine their nearly sculptural surfaces.

This tradition, carried forth, expanded, and transformed over the course of the 20th century, continues into the present with innovative approaches to the genre by: Patrick Wilson Ruth C. Horton Gallery Los Angeles artist Patrick Wilson creates luminous, sumptuously colored abstract paintings composed of richly layered geometric forms — lines, squares, and rectangles.