Sentences with phrase «edge of the painted surface»

Barely perceptible traces of the paint linger on the exposed canvas, but especially at the slightly ragged edge of the painted surface.

Not exact matches

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

Barely dip the edge of the brush just on the surface on the paint and then wipe off the excess with a paper towel.

Simply tape off the edges of a table, prime the surface, and apply a couple layers of whiteboard paint.

Close examination reveals frayed paint edges and scarified surfaces reminiscent of a boxcar tagged one too many times.

With precise, clipped versions of nature but a joyful surface quality, the paintings juxtapose the hard edges of architecture with the dynamic chaos of the natural world.

Although Marden paintings have delicate surfaces that have to be carefully handled, the Ronald Davis resin paintings are easily chiped if set upon their edges or shipped without correct pading and many of the other works tend to be large, the transportation and installation of these works do not require any rigorous construction or rigging.

The dragging and scraping of the grey paint with a palette knife creates a soft surface in opposition to the hard - edged and flat shapes.

Painted on rectangles of sky blue with thin hard edge black lines describing simple yet complicated designs; a few of his sky blue paintings had black numbers stenciled on the surface corresponding to his own arcane system of height and width.

In 1969 I began a continuing series of stain paintings combining stained surfaces, with hard edged colored bands, painted in different sizes across the bottom (some of which had abstract writing in them) and later, colored bands of different lengths and widths on the edges.

With the edges of my work that are caked and deckled with paint, I take a really sharp blade and edge trim all that off, squaring off the sides of the surface to the wall.

Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard - Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors.

In the early 1960s, for example, he seemed to be measuring himself up against the achievements of Abstract Expressionism and consciously wondering how he might beg to differ, and even testing the limits of our patience as spectators, asking us to consider how little might be required to make a painting which has clout and authenticity — overlay an entire surface with black paint, and then introduce across that surface some black chevrons edged with orange?

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

In these paintings, one's eye is drawn not to the center of the canvas, but to the bold forms that appear incised at the edge of the surface.

Although concerned with precision in craft, Geronimas often includes incidental surface details such as bits of tape or paint along the edges of a work.

Rooted in the language of architecture, Voisine's paintings, prints and drawings convey a sense of shifting spatial interactions through the use of symmetry, color, surface, and precise, hard - edged forms.

Joan Waltemath's paintings and drawings proceed from a deep understanding of how the body engages art — how their surfaces trigger our sense of touch; how their scale activates the edges of our peripheral sight.

Collection (1954/1955) is the artist's first «Combine painting,» an early type of Combine that hangs on the wall like a traditional painting but reaches into three dimensions with various elements attached to the work's surface — such as the silk veil over the mirror attached just off - center and the found wood scraps along the top edge.

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.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

Number 4 - 32 belongs to a particular subset of Stripe paintings in which Louis employed a long painting stick wrapped with cheesecloth to apply the acrylic paints at the top edge of the canvas, which he allowed to cascade down the painting's surface canvas.

«Painting does not want to be confined by boundaries of edge and surface.»

These torn edges reveal a honeycomb mesh inside the fibreglass; this too represents a kind of perfection, in contrast to which the painted surfaces seem weathered and dirty.

One of his strategies is to alter the shape of his canvases by carving the edges of his frames into undulating curves, around which he wraps linen painting surfaces.

Traveled to: Museum of Modern Art, Belgrade, August 14 - September 11; Galleria d'Art Moderna, Rome, September 28 - October 26; National Museum of Poland, Warsaw, November 12 - December 10; Baltimore Museum of Art, at the Maryland Science Center, January 16 - February 6 «Aspects of Postwar Paintings in America,» Solomon R. Guggenheim Museum, New York, November - December «Surface, Edge and Color,» Whitney Museum of American Art, New York, December 8 - January 12, 1977 1977 «Eight Contemporary Masters,» United States Embassy, Ottawa, Canada, November 1978 «New Ways with Paper,» National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., December 2 - February 20 1979 «A Century of Ceramics in the United States, 1878 - 1978,» Everson Museum of Art, Syracuse, New York, May 5 - September 23.

Varying in scenery and painting techniques, the first were loose painterly exploration of aerial photographs of cities and townscapes, then mountain landscapes and park scenes with their hard - edge textured paint surfaces.

The show also includes graphite works on paper and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or white surfaces.

While Noland eliminated highly personal, gestural expression in favour of hard - edged abstraction, others poured, dripped, and pushed paint across the surface of the canvases.

Each painting is of similar scale and construct, and the colored surface is created by applying hundreds of coats of paint that he individually mixes using gold, silver, platinum, and diamond dust, and a variety of pigments and oxides on birch board with edges cut at a 45 ° angle and standing off the wall.

Its meager painted elements consist of thin, mechanically crisp lines and bars of blue enamel, mostly along the edges but also trisecting the surface horizontally.

Bringing together five of Bannard's seminal paintings from 1959 - 1962, the exhibition surveys the early portion of his career defined by single - image paintings with hard - edged geometric shapes and complex explorations of color and surface.

What wins the day, in addition to the surfaces, is the scale of these paintings, which suggests that the artist wants to bring his motifs to the canvases» edge and beyond.

There is, however, a marked variety in the formal means of the paintings of 1947, ranging from precisely edged forms and dense Cézanne-esque brushwork to loosely painted, disconnected areas that spill over the surface.

His paintings evoke an awareness of the act of painting, namely by drawing attention to brushstrokes, surfaces, and materials, as well as to the edges of the image and the relationship between the painting and the wall it hangs upon.

Sometimes, these juxtapositions provide stark studies in materiality: for instance, the reflective black surface of Johnson's wax, soap and tile work The Collapse (2012), evoking an urban streetscape, hangs near a recent Robert Irwin (Black Painting with Blue Edge, 2008 — 09), which seems, at once, to attract and repel light.

Within her well - known series that uses a curved shape — initially called Doubleu by the artist (the spelling of the letter)-- Provosty pairs matte and oil paint into closed forms, opening the space with their reflective surfaces and tenuously squeezed outer edges, implying multiple associations that imply numerous unfixed interpretations.

Cracco invites viewers into the intimacy and the danger of light, whether it is the low light of a candle, the flash of colliding atoms, or the blinding light of the sun, Blinded highlights the importance of the surface, the value of improvisation and the simple fact that just as light can not turn a corner, when you get to the edges of these new works the illusion breaks down, leaving viewers with the memory of being blinded by the intimacy and the intricacy of color and paint.

The brightly colored, hard - edge dots and lozenge shapes that Larry Poons painted in the early 1960s, against expansive, monochrome grounds of contrasting tones, appear to dance on the surface, flicker and bounce, in primal rhythmic beats.

Upon seeing the selection of four monumental paintings by Olivier Mosset at the uptown Mary Boone Gallery — three of them dating from the 1980s — I was taken by their Classical stature, their hard - edge quality, and their openness of surface space.

Gueorguieva first started experimenting with cutting and collaging the surfaces of her paintings in order to explore the shallow yet real space produced by the cut and the glued edge.

(One of the more nuanced aspects of hard - edge painting, achieved by Mosset, is the care and precision given to articulating surface space in a manner that is both contrary and equal to paintings that work exclusively with space created by the overt gesture.

She works on the floor or a tabletop, and the paint, responsive between the surface of the canvas and the pressure of the brush, bleeds and blots slightly at the edges, recording with expressive exactitude the process of its making.

Bantock writes that «Rigden, for all his cool, has a razor - sharp awareness of the massive constraints which define a painting, that a painting has only three realities: area (surface plus edge), chroma and facture.

Robert Irwin's Black Painting with Blue Edge, which is organized under, «Into the Black,» is a honeycombed aluminum panel painted in a lacquered black that breaks into a suppressed dark shade of blue in the center, evoking shining light playing on the surface.

The suspended string, attached at either end to wooden slats leaning out into space from the framing edge, forms a graceful catenary arch in front of the painted surface.

The first painting in the exhibit, Untitled No. 1 (1993), is a field of transparent oatmeal scored by nine stripes of a slightly darker hue, evenly spaced and running horizontally across the surface, their ends stopping short of the edges.

In his early paintings Marden left a bare narrow margin at the bottom edge of the thickly worked surface of oil mixed with wax to allow the observer to be witness to the process.

Jewell loads his formal and conceptual intentions almost exclusively on the edges of the various shapes and the result is an alienation between surface and edge which handicaps the painting.

Most of her images, like Web # 1 1999, are painted or drawn very close to the edge of the surface she is working on and seem to extend beyond the frame of the image and into the space occupied by the viewer.