Sentences with phrase «colour frame by frame»

The effective introduction of colour into a monochrome world was done by shooting in colour originally, scanning the film digitally at 2K, and then removing colour frame by frame as needing by the progression of the story.

Not exact matches

By framing the face and drawing attention to the colour palette of your look, sometimes a hat can be the perfect touch to your winter outfit!

Instead, the graphic pattern and bright colours framed by negative space create a convex illusion at my waist.

boudoir bedroom ideas images vintage idea home interior design painting pictures romantic, interior painting ideas images romantic bedroom pictures glorious black and white master colors, boudoir bedroom ideas images small design decorating tips for bedrooms romantic designs pictures, bedroom elegant light blue bed sheet for master idea color ideas photos small storage images colour scheme, master bedroom colors images small ideas pictures modern idea photos, cool affordable bedroom idea ideas cheap master decorating images interior painting teenage girl pictures, master bedroom paint ideas photos small pictures diverse and creative teen by color, romantic bedroom ideas pictures master decorating images modern black idea with bed frame designed boudoir, bedroom walls and stone rustic interior design idea with painting ideas images master decorating small pictures, romantic bedroom ideas pictures teenage girl big bedrooms for girls better homes gardens master color.

But although the cinematography aptly framed the San Fernando Valley's beautiful blue skies, it was afflicted by something I noticed in so many films at this festival, the mutation of colours and the precision of landscapes brought about by digital cinema.

The 1.78:1, 16x9 - enhanced image follows the series» intentions with an appropriately colour - drained presentation that occasionally loses its sharpness when the frame is completely engulfed by dark colours (particularly noticeable in the last episode of the season, «Flight» (1.22)-RRB-.

by Bryant Frazer More than twenty years ago, I sat in Stan Brakhage's office at the University of Colorado, handling original frames of 65 mm IMAX film stock that the avant - garde filmmaker had hand - painted with swirling layers of colour.

In this pack, students will: Write a morning message Put the days of the week in order Write the day that comes after and before Put the months of the year in order Write the month that comes after and before Compound words Count by 2s and 5s and 10s Addition Colour 10 frame Make a word out of 3 letters Choose the bigger and smaller number Write a rhyming word How many syllables How many vowels Write the numbers in letters 1 - 30 Write the number that comes after and before Add one more Please ask any questions and download the sample preview before purchasing.

In this pack, students will: Write a morning message Put the days of the week in order Write the day that comes after and before Put the months of the year in order Write the month that comes after and before Compound words Count by 2s and 5s and 10s Addition Colour 10 frame Make a word out of 3 letters Choose the bigger and smaller number Write a rhyming word How many syllables How many vowels Write the numbers in letters Write the number that comes after and before Add one more Please ask any questions and download the sample preview before purchasing.

Inside, diamond - quilted linen - coloured leather is trimmed in Sequin Blue stitching and framed by chrome where it meets the Burr Walnut rear tonneau (which, by the way, is made up of the largest piece of wood veneer Bentley's ever fitted to a car).

In the far lower section of the bumper, beneath the crossbar painted in body colour, the black air inlet (with a honeycomb pattern screen) is no longer framed by a black area, rather by surfaces painted in body colour, which makes the air inlet stand out more powerfully.

The car featured many unique features such as a Jet Blue exterior colour, the front curve of the front wings borrowed from an Audi TT and Audi Nuvolari quattro GT, 20 - inch wheels, a twin - turbocharged V10 FSI engine with a rated power output of 610 PS (449 kW; 602 hp) and 750 N ⋅ m (553.17 lb ⋅ ft), a single - frame radiator grille, aluminium sports suspension with magnetic ride shock absorbers, dark interior colours, the body of the car made of aluminium and carbon fibre as well as distinctive wing mirrors designed by S. Arbin.

The slim volume rocker switch on the right edge is coloured to match the frame, and joined by a round «convenience» key.

The 8 - inch screen is surrounded by a black bezel, with a silver - colour edge acting as a frame and adding a visual point of interest.

The bold design continues in the rooms, where your fabric headboard might feature kissing fish or a retro surfer, above a king bed surrounded by primary colours and framed geometric prints.

Graced with lazy chairs and deeply cushioned sofas, the white colour theme is broken by the occasional splash of colour and a fine collection of antique framed prints on the walls.

For a Xbox Preview Programme game I was impressed by both the great use of colours and crispness of the graphics, the almost «Team Fortress» style graphics make for a stylised and beautiful game only suffering from a drop in frame rate in peak time.

PS4 Pro support enables a 4K resolution achieved by checkerboard rendering which is complimented by further technical improvements such as enhanced environment reflections on car bodywork and more accurate shadows and optimised shaders for higher quality trackside details, alongside HDR support produces more natural, believable colours and lighting which is all incredibly impressive given its consistent 60 frames - per - second, while gamers with a PS4 Pro and 1080p television benefit from down - sampling resulting in smoother graphics and finer details being present in the distance.

Towards the end you'll see a star power effect, this was actually made possible by changing into different coloured shirts for every two frames, now that's dedication, check out the fun video below.

I also strengthen the shadows cast by the window frame with a very dilute wash of the shadow colour.

Lighting gels, light correction gels and assorted coloured packaging material held together by slide frames; 80 slides.

Where Fontana broke new ground by slashing his canvases with a knife, and Manzoni did so by soaking his in kaolin solution, Castellani created monochromatic reliefs by driving nails into the underlying frames of his canvases at varying depths, and then painting on top in a single colour.

The first room of the Saatchi's summer exhibition, Paper, opens with a sprawling mural of interior scenes framed by lyrical passages of text: Untitled (Colour Kitchen) by Dawn Clements.

Further highlights include a colourfield from conceptual artist Ade Adekola, who explores aspects of Nigerian Culture by combining elements of gestural action and fields of colours, altering the viewers perception of the photographic frame.

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» Ecolour» 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» EColour» 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» EColour... 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» 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» 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.

The impression of a corporeal presence is emphasized by a leitmotif that emerges throughout the exhibition, the presence of hand - blown glass bubbles, at times vibrantly coloured, that find themselves carefully propped up, and upon closer look, moulded around shop fittings, or the rectilinear lines of a framed image.

, these include Rasheed Araeen's Chaaryaar (1968/2014), a sizeable sculpture of different - coloured cube - shaped wood frames; Hassan Sharif's series of documentary photographs with the self - explanatory title Drawing Squares on the Floor Using a Cube (1982); Saloua Raouda Choucair's small carved - wood sculpture Poem (1963 — 5); and Dóra Maurer's Seven Rotations 1 — 6 (1979), an infinity - mirror - like set of photographic self - portraits, in which Maurer starts by holding a blank square, which in the second in the series is replaced by the previous photograph, and so on.

The Rhine II Artist: Andreas Gursky born 1955 Date: 1999 Classification: on paper, print Medium: Photograph, colour, Chromogenic print, on paper Dimensions: frame: 2063 x 3575 x 50 mm Presented by the Friends of the Tate Gallery 2000 © Courtesy Monika Sprueth Galerie, Koeln / VG Bild - Kunst, Bonn and DACS, London 2018

Inspired by ubiquitous bus shelter advertising displays, such key Vancouver photo - conceptualist artists as Jeff Wall and Rodney Graham have long used ranks of bulbs set in a frame to illuminate large colour photographic transparencies from behind — these are called «light boxes.»

The three - part work that includes a colour photograph, picture postcard, and framed text is connected to Calle's work «The Detachment» (Die Entfernung)(1996), whereby she visited places in Berlin where symbols of the communist East Germany had been removed after unification by the new Berlin City Parliament.

Helen Frankenthaler (1928 - 2011) Spring Veil etching, aquatint and drypoint in colour, 1987, Fabriano Rosaspina paper, signed and dated»87 in pencil, inscribed Bon à tirer, an impression aside from the standard edition of 51 (there were also eight artist's proofs), published by 2RC Edizioni d'Arte, Rome, printed by Vigna Antoniniana, Rome, with their blindstamps, in good condition, framed Image 233 x 355 mm., Sheet: 438 x 654 mm.

Helen Frankenthaler (1928 - 2011) Air Frame, from New York Ten portfolio screenprint in colours, 1965, signed and dated in pencil, numbered 3/200, published by Tanglewood Press, New York, on Arches double - weight watercolor paper, the full sheet printed to the margins, sheet 560 x 432 mm (22 x 17 in)

Red, Red, Red is exuberant in its embrace of the sexier end of the colour spectrum: a calligraphic dance enacted by a troupe of bold swipes of tumescent colour, all on a ground of flesh - coloured wood set in a frame of gold.

Mounted side - by - side right around the exhibition space, with black sectors butted up against glowing colour, they have something of the effect of film frames.

The Polish Village series (1971 — 73) were huge collages of overlapping planes of painted wood, while his «tableaux» pieces, many inspired by Herman Melville's Moby Dick, burst sculpturally from the rigid confines of the frame in riots of colour and stylistic tics of past ages of modern art.

Peached coloured bundles of cloth are pinned in situ by painted bamboo sticks, grips and cables, and the space is broken up and framed by sections of blue painted paving slabs creating a landscape or set.

Solo exhibitions 2018 «Alterity Line», Metro Pictures, New York 2017 «David Malikovic», Dvir Gallery, Tel Aviv 2016 «Vignettes», Annet Gelink Gallery, Amsterdam 2016 «Again and Again», Museum of Contemporary Art Metelkova, Ljubljana 2016 «AAASSEMBLAGE», Dvir Gallery, Brussels 2016 «All Day All Year», T293, Rome 2016 «The Exhibition is Becoming», VOX Centre de l'image contemporaine, Montreal 2015 «A Retrospective by Appointment», Gallery Nova, David Maljković's studio, Gallery of Croatian Designers» Association, Cinema Tuškanac and Croatian Film Association, Zagreb 2015 «With the gallery», Galleria Massimo Minini, Brescia 2015 «David Maljković», Metro Pictures, New York 2015 «David Maljković», Sprüth Magers, London 2015 «New Collection», Blondeau & CIE, Geneve 2015 «Negatives, with Konstantin Grcic, Centre d'édition contemporaine, Geneve 2014 «In Low Resolution», Palais de Tokyo, Paris 2014 «David Maljković», Georg Kargl Fine Arts, Vienna 2014 «David Maljković», Leal Rios Foundation, Lisbon 2014 «David Maljković», Kunstmuseum St.Gallen 2013 «Afterform», Annet Gelink Gallery, Amsterdam 2013 «New Reproductions», CAC Contemporary Art Centre, Vilnius 2013 «Sources in the Air», GAMeC, Bergamo 2013 Metro Pictures, New York 2013 «Sources in the Air», BALTIC Centre for Contemporary Art, Gateshead 2012 «Sources in the Air», Van Abbemuseum, Eindhoven 2012 «A Long Day for the Form», T293, Rome 2012 «A Long Day for the Form», Sprueth Magers, Berlin 2012 «Morgenlied» (w / Latifa Echakhch), Kunsthalle Basel 2012 «Scene, Hold, Ballast» (w / Lucy Skaer), Sculpture Center, New York 2011 «Recalling Frames», Metro Pictures, New York 2011 «La Casa Mila» (w / Rosa Barba), Loop Festival, Barcelona 2011 «Temporary Projections», Georg Kargl Fine Arts, Vienna 2011 «Images with their own shadows», Vjenceslav Richter Collection, Museum of Contemporary Art, Zagreb 2011 «Exhibitions for Secession», Wiener Secession, Vienna 2010 «Images with Their Own Shadows», Moderna Galerija, Ljubljana 2010 «Images with Their Own Shadows», International Festival of Contemporary Visual Art, Glasgow 2010 «Out of Projection», Art Unlimited, Art 41 Basel, Basel 2010 «Lost Cabinet», Nogueras Blanchard, Barcelona 2010 «Missing Colours», Annet Gelink, Amsterdam 2010 «Recalling Frames», Sprueth Magers, London 2010 «Retired Forms», Massimo Minini, Brescia 2009 «Retired Compositions», Metro Pictures, New York 2009 «Nothing Disappears without a Trace», ARCO, Madrid 2009 «After the Fair», Georg Kargl BOX, Vienna 2009 «David Maljković», Museo Nacional Centro de Arte Reina Sofia, Madrid 2009 «David Maljković», Fondazione Morra Greco, Naples 2009 «David Maljković», Sprueth Magers, Berlin 2008 «Handed Over» (w / Rosa Barba), Project Art Centre, Dublin 2008 «Lost Memories from These Days», Annet Gelink Gallery, Amsterdam 2008 «Lost Review», Le Plateau, Paris 2008 «David Maljković», Kunstverein Nurnberg, Nurnberg 2008 «Parallel Compositions», Bergen Kunsthall, Bergen 2008 «Shadow Should Not Exceed» (w / Jan St Werner), Pinksummer Contemporary Art, Genova 2007 «These Days», Present Future, Artissima 14, Turin 2007 «Almost Here», Kunstverein Hamburg, Hamburg 2007 «Scene for New Heritage III», Art Unlimited, Art 38 Basel, Basel 2007 «David Maljković», P.S. 1 Contemporary Art Center, New York 2007 «Scene for New Heritage Trilogy», Whitechapel Art Gallery, London 2007 «Days Below Memory», CAPC, Musee d'Art Contemporain, Bordeaux 2007 «Scene for New Heritage Trilogy», The Physics Room, Christchurch 2006 «David Maljković», Salon of Museum of Contemporary Art, Belgrade 2006 «David Maljković», Museum of Modern and Contemporary Art, Rijeka 2006 «These Days» (w / Yael Bartana), Gallery Nova, Zagreb 2006 «It's gonna happen» (w / Rosa Barba), Croy Nielsen, Berlin 2006 «Scene for New Heritage II», Centre de Creation Contemporaine, Tours 2005 «Waiting Tomorrow», Annet Gelink Gallery, Amsterdam 2005 «90s without 90s», MMC Palach, Rijeka 2005 «Scene for New Heritage», Van Abbemuseum, Eindhoven

Shot from above and framed in the artist's own circular brightly coloured enamel steel frames, the works were the result of several years of experimentation by the artist.

Helen Frankenthaler (b. 1928) Sky Frame Orbit (Harrison 38) lithograph, etching and aquatint in colours, 1964 - 73, on pinkish - cream Arches paper, signed and dated in pencil, numbered 2/6 (there were also two artist's proofs aside from the edition), published by U.L.A.E, New York, with their blindstamp, with wide margins, the full sheet as published, a deckle edge to left and right, apparently in very good condition, not examined out of the frame L. 545 x 385 mm., S. 759 x 57Frame Orbit (Harrison 38) lithograph, etching and aquatint in colours, 1964 - 73, on pinkish - cream Arches paper, signed and dated in pencil, numbered 2/6 (there were also two artist's proofs aside from the edition), published by U.L.A.E, New York, with their blindstamp, with wide margins, the full sheet as published, a deckle edge to left and right, apparently in very good condition, not examined out of the frame L. 545 x 385 mm., S. 759 x 57frame L. 545 x 385 mm., S. 759 x 571 mm.

Helen Frankenthaler (B. 1928) La Sardana (Harrison 138) lithograph and aquatint in colours, 1987, on Rives, signed, dated and numbered 17/60 in pencil (there were also 28 proofs), published by Ediciones Poligrafa, S.A., Barcelona, with margins, apparently in very good condition, unexamined out of the frame L. 699 x 479 mm.

(Manhattan 1928 - 2011 Darien, Connecticut) «Harvest», colour etching, signed by hand, dated Frankenthaler» 76, no. 21 of 43 numbered impressions, image size 49 x 42 cm, sheet size 66 x 55,5 cm, dry stamp, damaged, framed, (EH)

Helen Frankenthaler (1928 - 2011) Flirt screenprint in colours, 1995, on wove paper, signed in pencil, inscribed P.P. 6/9 a printer's proof aside from the standard edition of 126 (there were also ten artist's proofs), co-published by the Lincoln Centre and List Poster and Print Program, New York, with the artist's copyright inkstamp verso, printed to the edges of the full sheet, in good condition, framed Image and Sheet: 686 x 1003 mm.

Mostre Personali 2018 «Alterity Line», Metro Pictures, New York 2017 «David Malikovic», Dvir Gallery, Tel Aviv 2016 «Vignettes», Annet Gelink Gallery, Amsterdam 2016 «Again and Again», Museum of Contemporary Art Metelkova, Lubiana 2016 «AAASSEMBLAGE», Dvir Gallery, Bruxelles 2016 «All Day All Year», T293, Roma 2016 «The Exhibition is Becoming», VOX Centre de l'image contemporaine, Montreal 2015 «A Retrospective by Appointment», Gallery Nova, David Maljković's studio, Gallery of Croatian Designers» Association, Cinema Tuškanac e Croatian Film Association, Zagabria 2015 «With the gallery», Galleria Massimo Minini, Brescia 2015 «David Maljković», Metro Pictures, New York 2015 «David Maljković», Sprüth Magers, Londra 2015 «New Collection», Blondeau & CIE, Ginevra 2015 «Negatives», with Konstantin Grcic, Centre d'édition contemporaine, Ginevra 2014 «In Low Resolution», Palais de Tokyo, Parigi 2014 «David Maljković», Georg Kargl Fine Arts, Vienna 2014 «David Maljković», Leal Rios Foundation, Lisbona 2014 «David Maljković», Kunstmuseum St.Gallen 2013 «Afterform», Annet Gelink Gallery, Amsterdam 2013 «New Reproductions», CAC Contemporary Art Centre, Vilnius 2013 «Sources in the Air», GAMeC, Bergamo 2013 Metro Pictures, New York 2013 «Sources in the Air», BALTIC Centre for Contemporary Art, Gateshead 2012 «Sources in the Air», Van Abbemuseum, Eindhoven 2012 «A Long Day for the Form», T293, Roma 2012 «A Long Day for the Form», Sprueth Magers, Berlino 2012 «Morgenlied» (con Latifa Echakhch), Kunsthalle Basilea 2012 «Scene, Hold, Ballast» (con Lucy Skaer), Sculpture Center, New York 2011 «Recalling Frames», Metro Pictures, New York 2011 «La Casa Mila» (con Rosa Barba), Loop Festival, Barcellona 2011 «Temporary Projections», Georg Kargl Fine Arts, Vienna 2011 «Images with their own shadows», Vjenceslav Richter Collection, Museum of Contemporary Art, Zagabria 2011 «Exhibitions for Secession», Wiener Secession, Vienna 2010 «Images with Their Own Shadows», Moderna Galerija, Lubiana 2010 «Images with Their Own Shadows», International Festival of Contemporary Visual Art, Glasgow 2010 «Out of Projection», Art Unlimited, Art 41 Basel, Basilea 2010 «Lost Cabinet», Nogueras Blanchard, Barcellona 2010 «Missing Colours», Annet Gelink, Amsterdam 2010 «Recalling Frames», Sprueth Magers, Londra 2010 «Retired Forms», Massimo Minini, Brescia 2009 «Retired Compositions», Metro Pictures, New York 2009 «Nothing Disappears without a Trace», ARCO, Madrid 2009 «After the Fair», Georg Kargl BOX, Vienna 2009 «David Maljković», Museo Nacional Centro de Arte Reina Sofia, Madrid 2009 «David Maljković», Fondazione Morra Greco, Napoli 2009 «David Maljković», Sprueth Magers, Berlino 2008 «Handed Over» (con Rosa Barba), Project Art Centre, Dublino 2008 «Lost Memories from These Days», Annet Gelink Gallery, Amsterdam 2008 «Lost Review», Le Plateau, Parigi 2008 «David Maljković», Kunstverein Nurnberg, Nurnberg 2008 «Parallel Compositions», Bergen Kunsthall, Bergen 2008 «Shadow Should Not Exceed» (con Jan St Werner), Pinksummer Contemporary Art, Genova 2007 «These Days», Present Future, Artissima 14, Torino 2007 «Almost Here», Kunstverein Hamburg, Amburgo 2007 «Scene for New Heritage III», Art Unlimited, Art 38 Basel, Basilea 2007 «David Maljković», P.S. 1 Contemporary Art Center, New York 2007 «Scene for New Heritage Trilogy», Whitechapel Art Gallery, Londra 2007 «Days Below Memory», CAPC, Musee d'Art Contemporain, Bordeaux 2007 «Scene for New Heritage Trilogy», The Physics Room, Christchurch 2006 «David Maljković», Salon of Museum of Contemporary Art, Belgrado 2006 «David Maljković», Museum of Modern and Contemporary Art, Rijeka 2006 «These Days» (con Yael Bartana), Gallery Nova, Zagabria 2006 «It's gonna happen» (con Rosa Barba), Croy Nielsen, Berlino 2006 «Scene for New Heritage II», Centre de Creation Contemporaine, Tours 2005 «Waiting Tomorrow», Annet Gelink Gallery, Amsterdam 2005 «90s without 90s», MMC Palach, Rijeka 2005 «Scene for New Heritage», Van Abbemuseum, Eindhoven

Mr. Pat Frank is very good in his attempt to sell a crumbling house by directing attention towards the matching window frames and wall colour, despite the fact that the ceiling is missing.

With different collections arranged by frame shape and size, their limited edition sofas can range from the raw to the regal, but all made with a tasteful eye for colour and proportion.

It's been reinforced by world travellers that we have the only subdivisions with whole streets, and even whole subdivisions frame built using only all beige brick with roofs of pale colour brown shingles and boring colour painted doors and shutters.

Create a standout gallery by painting some glass - free frames in a bright colour — you could match the shade to your room's accessories.

The large mirror above them reflects the light around the room and the frame matches the colour of the stained - oak flooring by Aspect Flooring.

Instead of sticking to a monochromatic theme of black, white or metallic frames, spice things up by including some colour, like this beautiful matte red option.

It's good to have a regular spot to work in — this vintage desk is livened up by a sunny yellow chair and a framed print of brightly coloured lamps.