Sentences with phrase «first drips of paint»

Not exact matches

Some examples of when I would sand first: The existing paint job is sloppy with drip marks that I want to remove.

He also penned the seminal ArtNews article, «Pollock Paints a Picture,» a first hand account of Jackson Pollock's novel drip painting technique (also included in this new volume - along with an interesting new revelation about that text).

Someday, for instance, I'd like to see Janet Sobel's 1944 drip paintings — admired by Pollock and which Greenberg would later cite as the first instance of» all - over» painting — placed within an Abstract Expressionist context.

Her working environment, documented for the first time in a number of new photographs by the artist, will be recreated as installations in the gallery, down to the paint pots, brushes, books and discarded scraps of newspaper that are similarly covered in the spatters, splashes and drips that result from her obsessive painterly method.

Compare, for example, the horizontal, dripping stroke of brown paint overlapping the bottom edge of blank cloth at the top of the first panel and its reiteration in white at an analogous spot in panel two.

The exhibition will first introduce audiences to Pollock's work via a selection of his classic drip paintings made between 1947 and 1950, including Number 2, 1950, a work from the Harvard Art Museums» collection that has not traveled in over 20 years.

The abstract drip paintings were made during the climax of his career and pushed Pollock to the forefront of Abstract Expressionism — the first American art movement to wield international influence.

What Pollock created with his first drip painting in 1947 was, simply put, a turning point in modern and contemporary art, and a start of the art movement that would come to place America on the global art stage — Abstract Expressionism.

The works in the first group share a signature horizon drip - line image that the artist has mainly produced in mural - installation works of the last 10 years, rooted in the iconography of Ostendarp's first stand - alone paintings of the mid 90's.

Cheim & Reid, who have done more than any other major New York gallery to bring women's art to the fore, are exhibiting the last painting ever made by Joan Mitchell — a ravishing mess of blue and yellow squiggles indebted to Monet — alongside first - rate sculptures by Jenny Holzer and Lynda Benglis and a new abstract painting by Pat Steir dripping in silver and gold.

As you clear security into the realm contained within a long white tent in the north corner of Regent's Park, the first stall on the left is laden with Renaissance paintings dripping with gold.

In 1944 — the year Clyfford Still completed 1944 - N No. 2, Jackson Pollock — probably the best - known American Abstract Expressionist painter of the 20th century, was still searching for his signature style and was a year or so away from creating his first drip painting.

The Pollock work, Number 5, 1948, is 1.2 by 2.4 metres (4 ft by 8ft), and is one of his first drip paintings.

With more than 70 works of art, including paintings, drawings, prints and sculptures, the exhibition first introduces museum goers to Pollock's work via a wide selection of his classic drip paintings made between 1947 and 1950.

Some historical examples of categorical risk will serve to clarify my term: the first cubist, futurist, constructivist paintings; Duchamp's signed urinal or his bicycle wheel; Pollock's drip paintings; Yves Klein's jump, but also Allan Kaprow's Happenings and Joseph Beuys» lectures.

About the time that he first encountered Tobey's work, Pollock began making the allover paintings that led, toward the end of 1946, to the drip paintings that vaulted him to art - historical prominence.

In his first one - man show at the Peridot Gallery in 1950, he presented stained and «dripped» canvases, influenced by his close friend Jackson Pollock, in which stains made on the reverse side of the canvas were used to generate «spontaneous» painted shapes on the front.

«The quality, the execution, the kind of intensity of the layers of paint, the quality of the drip is relatively discernible when you see these things first - hand.

Pollock first practiced Action painting by dripping commercial paints on raw canvas to build up complex and tangled skeins of paint into exciting and suggestive linear patterns.

In 1951, he had his first show of drip paintings at the Whitney.

Inspired by first - generation computer art programs like MacPaint, Trudy Benson makes big, boldly colored canvases that ply the charms of that naive platform: the crisp layering of line and shape, the abrupt contours that seem to defy paint's natural inclination to ooze and drip, and the ad - hoc, this - is - disposable riffing vibe.

As the drips and splashes of paint piled up, Pollock's own image first merged with and finally was obliterated by his art.

Saccoccio's work first caught my eye in a 2013 group exhibition called Let's Get Physical, curated by the painter Rick Briggs at Ventana 244 in Williamsburg, Brooklyn, where she showed a grid of four paintings in gouache and ink on yupo paper, dominated by drips and spatters and networks of bleeding color.

Now, in a sequence of galleries, the DMA's senior curator of contemporary art, Gavin Delahunty, presents a compelling case for the significance of the black paintings, with portable drip paintings, the first burst of black works, later ones that were exhibited in solo shows at the galleries of Betty Parsons and Sidney Janis in New York, screen prints, and drawings made on Japanese mulberry paper.

Some are similar to his very first spot paintings with actual physical signs of paint, texture and drips.