Sentences with phrase «enamel paint onto»

In the early 1940's, a painter by the name of Jackson Pollock began developing a technique that allowed him to spontaneously drip enamel paint onto flat canvases, resulting in...

This was the year that saw Pollock put aside his colored paints and begin «drawing» (squirting, flicking, and dribbling, with uncanny control) thinned black enamel paint onto beige, unprimed, cotton duck canvases.

Each painting consists of multiple monochromatic rectangles or squares of glossy enamel painted onto a white background.

Not exact matches

Where Pollock had used enamel that rested on raw canvas like skin, Ms. Frankenthaler poured turpentine - thinned paint in watery washes onto the raw canvas so that it soaked into the fabric weave, becoming one with it.

I KILLED KENNY features monumental enamel paintings and large - scale charcoal drawings rendered directly onto SMMoA's gallery walls.

Stingel's recipe describes how to whip a brightly - colored oil paint with a kitchen hand mixer, brush it onto the canvas, lay a sheet of gauze over it, rub with a squeegee, spray on silver enamel paint with an air gun, and then remove the gauze to reveal the finished painting.

Onto these structures Day - Glo paint and industrial enamels are applied as «material on material,» defining areas or zones on the raw plywood surfaces generating layers of information.

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

(Notoriously, the critic E. C. Goossen, comparing her to her towering predecessor, Jackson Pollock, wrote, «What she took from him was masculine,» i.e., enamel paint flung onto canvas with a stick; «What she made with it was distinctly feminine: the broad, bleeding - edged stain on raw linen.»

For both, he thinned his oil - based enamel paint before brushing it onto the canvas, adapting a technique he had learned from one of his former students, Helen Frankenthaler.

But in the early 1950s, in the years just before his tragic death at age 44 in an alcohol - fueled car crash, Pollock was experimenting with a new way of confronting his surface, spilling black enamel paint — the kind you might use on outdoor ironwork — onto raw cotton duck canvas, a clashing, angry union of synthetic industrial chemical and unprimed organic substrate.

Jackson Pollock, the master of Abstract Expressionism, reached an endgame with his groundbreaking drip paintings in 1950, and then experimented with a new technique, akin to drawing, of pouring thinned black enamel onto unprimed cotton duck.

Each painting is built on top of a coat of industrial enamel paint that Shepherd brushes onto the panel, in a manner that emphasizes parallel, horizontal striations that emerge in the field.

Without drafting preliminary sketches, he starts by pouring enamel paint directly onto the canvas.

Inspired by the enamel stains of Jackson Pollock and the thin washes of Helen Frankenthaler, Louis created his Veils by pouring Magna acrylic paint thinned with turpentine onto unprimed, unstretched canvases.