Sentences with phrase «forms of oil paintings»

Alex Becerra's picture planes are heavy with unbounded, massy forms of oil paint.

Artist Statement on DEEPHORIZON: «The supreme discipline of art — oil painting — is back with a vengeance — in the form of an oil painting on a 80.000 square miles ocean canvas with 32 million litres of oil — a unique piece of art... It has been 13 days since a BP oil and gas exploration well blew out, setting fire to the drilling rig, which sank, killing 11 people.

As well as landscape - in the form of oil painting and watercolour painting, - Wilks executed a number of portraits, genre - paintings and drawings in pen and ink, pencil and chalk.

When the War ended, he turned his attention to abstract art in the form of oil painting, becoming associated with Art Informel, Tachisme and Lyrical Abstraction.

Not exact matches

As a reflection of the mentorship program itself, this exhibition will feature a diverse array of media including alternative process photography, old masters oil painting, plein air painting, creative writing, stainless steel sculpture, drawing and mix - media; all art forms taught in this year's spring and summer mentorships.

She further develops the complexity of her compositions by adding oil painted motifs that mimic her original marks, saturating portions of the fabric with pools of solid color, and interrupting the surface of the canvas by cutting out sections to create mysteriously dark breaks in its form.»

The importance of three - dimensionality is apparent when one compares her oil paintings from this period to related drawings: even when these are on several pieces of paper creating a shape or a broken field, they operate in a more conventional relation to form.

Malevich said that a painted surface is a real living form, here in sheer vitality Leonhardt activates her paintings with numerous layers of thick oil paint.

Masked — off areas and a strategic mixing of oil and Flashe (a matte, vinyl - based paint) suggest sturdy effort and deliberation rather than a passionate struggle; forms tend to circulate intriguingly rather than urgently, as if the artist, stirring together elements of flaming pink, crusty off - whites, and gray - greens, then allowed them to settle like tea leaves.

Then, I added oil paint over a clear sealant, building off of the dye patterns to suggest form and space.

Otherwise, the elements and criteria of the work are much the same; pigment color and property, paint binder of oil or gum arabic, form or composition, and asymmetrical balances, dissonances, and harmonies.

Rachel Macarthur's four oil paintings on paper are informal, gestural, arriving - at - form in the process of paint application, and there is gesture and painterly dialogue in the three wonderful paintings by Karl Bielik.

Some butterflies are perfectly formed whilst others are in various states of decay and still others are mere coagulated collections of oil paint.

His paintings use a mixture of resin, oil paints, and pigments to create liquid forms: fluids, which for him represent humans, interacting in neural space.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

Gendel magnetizes oil paint, merging and estranging color, form, and a delirious but skeptical mode of expressionism.

Row paints in heavily worked layers of lush oil paint, gradually forming a dense network of marks and lines.

The oil on canvas works were a departure from the newspaper images and personal photographs which form the subject matter of earlier «Fact» painting exhibitions, «The Elusive Truth» (2005) and «Beyond Belief» (2007).

Slender wisps of brightly - colored «ribbons» of color applied directly with a lyrical, swooping brush are the predominant forms, rendered in primary colors applied from tube paints on his palette with brushes, rather than the frothy oil paints de Kooning concocted just a few years earlier.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

With all the Abstract Classicist paintings, the balanced geometric forms appear spare and refined, enriched by vivid colors of oil paint.

Class Description Students will paint directly from life as they learn the fundamentals of oil painting: light, color, form, space, and composition, the very building blocks of individual expression.

Through her loose brushwork — which she uses to call attention to the sensuous nature of oil paint itself — forms become imprecise but alluring.

Organic shapes are blasted apart by bright, unnatural tones of hot pink and acid green, while forms that reveal Wirsum's education in the vocabulary of modern abstraction are disengaged from the history of oil painting through the smooth, manufactured qualities of the painted surface.

Later intrigued by the modernity of Western art forms such as oil painting, he studied stage design at the Shanghai Theater Academy from 1981 to 1985.

In Patricia Cronin's work, traditional forms of art making — oil painting, sculpture, and watercolor, for instance — are the channels through which she addresses various contemporary political issues.

Faiz continues this tradition with her large - scale oil painting «Divider» (2015), by combining post-painterly abstraction with Albert Oehlen's version of abstract art, an aversion away from recognisable forms.

Back in the 1960s, Ashbery succinctly nailed Bishop's work when he described it as «Post-Painterly Quattrocentro» — «Quattrocentro» because of Bishop's fierce loyalty to oil paint and to the paradoxical possibilities of the painting as window, and «Post-Painterly» because of his immediate struggle with the work of Robert Motherwell, Ellsworth Kelly, and Ad Reinhardt, painters who formed the backdrop of his maturation as an artist.

Pigment sticks are oil paint in stick form, with a touch of wax added.

Executed in oil on canvas from a digital image, the paintings incorporate layer upon layer of fine lines of colour to create architectural - like forms, suggestive of a dense, abstracted cityscapes.

American - born, Rome - based painter Jackie Saccoccio use abstraction as a form of portraiture, creating bright, large canvases with oil paint and sparkling mica powder.

Known for producing finely wrought, luminous black and white oil paintings, White's masterfully rendered moments of everyday life bear comparison to the quietude of paintings by the Flemish masters and Lucian Freud's early interiors, whilst the distilled forms that inhabit them reflect a more contemporary, ritualized, minimalist sensibility.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of clear independent marks that form a whole.

In his newest creative works in oil paint, by means of once again observing carefully and realizing the intimate relations between family members, Zhang takes the complexity and concretization from the bloodline theme to form the main character's mutual and interweaving vision, as well as each family member's individual psychological projection and ego cognition that accompanies their familial role.

Whilst Ayres's paintings have never been representational, the forms in these new works seem reminiscent of leaf and flower shapes clearly seen in works such as Apadana, Cynthu's Hill, and Helen's Glade, all oil on canvas and executed in 2011.

Often combining two or more abstract forms into one piece to create a three - dimensional composite wall relief, the surface of the canvas is painted using industrial materials such as oil - based enamel and spray paint.

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.

The earliest examples in Soto: Paris and Beyond — oil paintings from the early 1950s, such as Rotation (1952)-- convey a sense of dynamism through the repetition of geometric forms that activate the picture's surface.

Loie Hollowell is a Queens - based artist, whose oil paintings of symmetrical and anatomical forms pose between slight figuration and geometric precision, doubtlessly recalling Georgia O'Keefe's floral depictions.

Lunar in their voluptuous silhouettes, these oil on linen paintings stem from her exquisite orchestration of color and form, absorbing the viewers into dream - like realms.

With the decisiveness of a marksman, she trowels oil paint to existence, defining forms that are at times stubby vertical trunks or limber acrobatic shapes, but always exuberant impasto.

These paintings in varying sizes and executed in oil on canvas, employ a variety of brushstroke - like forms in an array of vibrant colors.

Most of his paintings are made by «un-painting» as well as painting: A language that he has made his own; oil paint is applied in layers and dissolved away with turpentine, forming something quietly and unexpectedly beautiful.

They are in fact beautiful oil paintings, which form part of a series entitled The City by South African artist Philip Barlow.

Alexander writes: «Keltie's paintings are built with many layers of intersecting translucent and opaque matrixes in various media, including spray (oil) paint, acrylic and oil pastel, forming fabulous amalgams of color, shape and dynamism.

With a contemporary approach to painting, his famous methodology of deconstruction and reconstruction, through the peeling, disfiguring and re-layering of oil on canvas forms images of otherwise hidden expression.

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

This act of layering — quite physical in its presence — is produced by the artist's application of slender intersecting lines of oil paint that form a scrim on the paintings» surface.