Sentences with phrase «early canvas in»

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

The curator Elizabeth Armstrong has included 10 of his early canvases in «Birth of the Cool» at the Orange County Museum of Art in Newport Beach, opening Sunday.

The earliest canvases in the exhibition date from 1953 and show the pronounced influence of Bonnard and Toulouse - Lautrec in both palette and composition.

Not exact matches

Along with Alex's canvases, launchpadcentral, and a configurable IRL companies now have a way to measure early stage ideas in a systematic way.

In the early 1970s, the multi-colored suede and canvas over-the-knee boots produced by the London store Biba [19] were so sought - after that queues would form outside the store when a delivery was due.

But he does better in the early scenes here where the young marrieds indulge their lust than in the more stilted dialogue - heavy moments in large open rooms filled with canvases and little else.

Set in Paris in the early 1990s, this terrific drama is a large - canvas, richly coloured docudrama about the early members of the French branch of Act Up, the Aids activism group.

Instead of the Ford's folding canvas top, the Lincoln Mark X had a retractible roof, which seemingly every manufacturer was trying to build in the early 2000s.

Essentially motorized horse buggies, early cars came to sport flimsy metal and canvas manual folding roofs that leaked in the rain and were uncomfortably draughty and noisy, not to mention difficult to secure.

The canvas Morse had prepared measured six by nine feet, making it greater in size than his House of Representatives of a decade earlier.

Canvas Selfie 2 Q340 is the successor to Canvas Selfie A255 which was launched in India earlier this year for Rs. 15,999.

Well, spherically - shaped Kirby is back in his latest outing on Wii U, Kirby and the Rainbow Curse, the spiritual successor to the early DS game, Kirby: Canvas Curse.

His early dyed - and - sewn canvas pieces, which sold for $ 450 in the 1960s, now bring $ 200,000, while wood works that sold for $ 450 in 1965 are reaching $ 450,000, and a 1966 installation of the 26 letters of the alphabet, composed of soldered tin, sold at auction to MoMA for $ 1 million.

In the early years his imagery fixed on actual objects — workmen's tools, bathroom appliances, household appurtenances, pieces of clothing — affixed on blank canvases or incorporated in constructions that proved both theatrical and darinIn the early years his imagery fixed on actual objects — workmen's tools, bathroom appliances, household appurtenances, pieces of clothing — affixed on blank canvases or incorporated in constructions that proved both theatrical and darinin constructions that proved both theatrical and daring.

John Yau, however, recently noted that the forms in Held's early 60s paintings, such as The Yellow X, extend beyond the picture plane, creating an awareness of the environment beyond the canvas edge.

Opening: Sadie Laska at CANADA Following her group show at Gavin Brown's Enterprise earlier this year, Sadie Laska (who performs in the sound band I.U.D. along with artist Lizzie Bougatsos) will display more of her explosive abstract canvases in her third solo show to date.

Frankenthaler, energized by Jackson Pollock's all - over method of painting, pioneered the technique of pouring paint onto unprimed canvas early in her career.

In the center of the booth is the 1963 piece Untitled (Four Fur Cutting Boards), a large construction, in the form of a moving, folding screen, that became the backdrop to Schneemann's early and iconic experiments using her body as both canvas and materiaIn the center of the booth is the 1963 piece Untitled (Four Fur Cutting Boards), a large construction, in the form of a moving, folding screen, that became the backdrop to Schneemann's early and iconic experiments using her body as both canvas and materiain the form of a moving, folding screen, that became the backdrop to Schneemann's early and iconic experiments using her body as both canvas and material.

The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel - Henry Kahnweiler as early as 1920, [12] but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.

Her latest canvases in bold, colorful patterns, which she completes at a ferocious pace, retail in the mid — six figures at New York's Gagosian Gallery and London's Victoria Miro; one of her rare early paintings sold at auction in November 2008 for $ 5.79 million, a record at the time for a living woman artist.

The whereabouts of the painting after the Armory Show is unclear, but in 2005 the work was exhibited in a major Bluemner exhibition that Barbara Haskell organized at the Whitney Museum of American Art in New York, and while the accompanying catalogue indicates that the painting is one of the 1911 — 1912 canvases that Bluemner reworked in 1916 — 1917, it does not identify the earlier painting as the one that was in the Armory Show.

American artist Mary Heilmann's (b. 1940) career spans five decades, from her early geometric paintings made in the 1970s to her recent shaped canvases in day - glo colours.

That year, Stella also exhibited a series of 30 - year - old sketchings he made in Spain in the early 1960s that disclosed how he worked out ideas about shaped canvases.

At the Garboushian Gallery in Beverly Hills Seery showed several large new canvases (that seemed larger due to the gallery's own compressed size) in which recur the saturated color, numinous composition, and graceful but urgent gesturality that drove his earlier work.

As in earlier works drawing is achieved via construction, lines are real, the edges of joined or overlapping parts but the plywood gives the «drawing» more precision, more clarity when compared with lines created in earlier paintings by joining or grouping canvases, which are inherently softer.

This period, and these female figure paintings, set the stage for Tworkov's transition into larger - format canvases in the early 1950s, when he loosened his line and painted mostly abstract compositions, relying on the figure.»

In fact, the paintings were surprisingly premeditated, carefully copied from sometimes much earlier, spontaneous drawings enlarged to fit the canvas.

Despite the strong presence of artists like Franz Kline in her abstractions of the early - to - mid-1950s, Betty Parsons, the legendary Manhattan - based art dealer, saw enough in Martin's canvases to take her on in 1957; she also encouraged the artist to move to New York.

ACQUISITION In early January, the Brooklyn Museum announces the acquisition of its first Beauford Delaney painting, «Untitled (Fang, Crow, and Fruit),» a 1945 oil on canvas still life (shown above), purchased from Michael Rosenfeld Gallery with money from the museum's African American Purchase Fund.

Bacon: We were talking earlier today about how, since the whites in your work are not painted, by you at least, since the canvas comes to you from the manufacturer already primed with that white ground, and then you didn't paint the top, but you painted the bottom half, it functions almost literally like a bank, right?

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

Understood in their broadest definition, the drawings and photographs assembled here include a wide range of material, among which are an 1864 photograph of the forest of Fontainebleau by the little - known French photographer Constant Alexandre Famin; a pastel completed earlier this year by Jasper Johns; a 3 x 5 inch Cezanne figure drawing; a new 6 1/2 x 10 foot landscape drawing by Ugo Rondinone; a digitally - manipulated photograph of the musician Björk by Inez van Lamsweerde; a small piece by an outsider artist known as the «Philadelphia Wireman,» who carefully bound his drawings up with bits of wire so they are barely visible; a recent charcoal on canvas by Gary Hume; and a 1949 sketchbook by Tony Smith.

Mythical, exotic and dream - like, in some instances referencing Gauguin and Matisse, the canvases on view here were produced in the late 2000s and early 2010s and include Ofili's «Metamorphoses» series which takes its name from Ovid's poem.

FAITH RINGGOLD, Installation view of «Black Light Series # 10, Flag for the Moon: Die Nigger,» 1967/69 (oil on canvas), was on view in «Faith Ringgold's America: Early Works and Story Quilts» at ACA Galleries in New York.

The Studio Museum in Harlem and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore present an exhibition featuring works from every period in painter Alma Thomas's career, including rarely exhibited watercolors and early abstractions, as well as her signature canvases drawn from a variety of private and public collections.

«Grand» is an adept word to describe Held's early canvases, though «heavy» (in presence and physical weight) follows instinctually.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

She is known for her vast and vivid improvised painted canvases, which in her early career were inspired by Jackson Pollock.

From a distance, the rarely seen abstractions on unstretched canvas and aluminum from the artist's early career in New York during the 1970s recall aerial maps or stratified rock formations.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Conceived as an adjunct to painting in the earliest years of its development in the first decades of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy of its own (albeit one that often still took its cues from traditional painterly modes of representation).

Bacon: It seems that even though you experimented in a wide range of ways of working, both early on and maybe even now within the constraints of the medium of drawing, there was nonetheless this tightening of formal parameters, beginning in the mid -»60s when you were able to buy 194 centimeter - wide lengths of canvas.

The strange violence that has been exerted on the canvas, and therefore to the Nurse of Greenmeadow herself, with paint dripping down the surface, recalls the shock and scandal with which de Kooning's celebrated paintings of women were received in the late 1940s and early 1950s, puncturing the myth of the woman in art.

This rare example of Monet's draftsmanship was produced early in the artist's career when he was tackling a large canvas depicting a luncheon party of elegantly dressed figures picnicking in a garden.

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.

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of GodIn the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of Godin a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of Godin all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of Godin Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

It connects Abstract Expressionism to earlier expressionism — with George Grosz, who paints himself chained at the neck to his brush while punching holes in canvas after canvas.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

After a period of producing a series of work on canvas and exhibiting in «white wall» style exhibitions, Herakut returns to an approach like their early years in presenting a fully immersive installation.