Sentences with phrase «from earlier canvases»

Although his later paintings differ in method from his earlier canvases, the preliminary process remains the same.

That instinct for finding common ground between old and new, rarefied and popular mediums is also much in evidence at the Whitney show, which tracks Stella's career from those early canvases into recent sculptural experiments with 3D printing.

Not exact matches

Estimate 600 900 7001 1 Thomas Jefferson Rare, Early Miniature Oil Portrait on Canvas, Probably Dating from his Presidency.

Also ported over are features on the history and development of «Tarzan,» among them segments on the Deep Canvas Process, Production Progression Demonstration, three publicity trailers, From Burroughs to Disney, an Early Presentation Reel, a short feature on the Research Trip to Uganda, six segments on creating The Characters of Tarzan, a three - minute bit on The Making of the Music, Building the Story and Storyboard to Film featurettes, 10 minutes of deleted and alternate scenes, and a couple tidbits on the international / intercontinental aspects of «Tarzan.»

Arguably the Finest Ettore Bugatti - Designed Touring Car Early Type 49 with Matching Numbers Engine and Sporting Original Coachwork Displayed on the Bugatti Stand at the 1931 Olympia Motor Show Exceptional Provenance, Just Two Registered Owners from New Beautifully Preserved, Largely Original Leather Upholstery and Canvas Top

Among the exhibition's many highlights are bold, groundbreaking paintings by Matisse from his most adventurous years, as well as highlights from nearly every phase of Diebenkorn's oeuvre from the early 1950s to 1980 — including several monumental canvases from his Ocean Park series, a renowned exploration of color, light, and space.

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.

Highlights range from the artist's Social Realist paintings and drawings of the 1930s and 1940s, to major Abstract Expressionist canvases of the 1950s and 1960s, and finally to the geometrically inspired paintings of the 1970s and early 1980s.

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

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.

The first group of paintings are constructed from stretched canvas and linen bags once used for transporting currency; they are reminiscent of Robert Rauschenberg's Combine paintings from the early 1970's.

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.

Covering the full breadth of her practice, this extensive exhibition will reveal Martin's early and little known experiments with different media and trace her development from abstraction to grids and striped canvases that became her hallmark.

This array is a development from KAWS» exhibition at Kaikai Kiki Gallery earlier this year, where that melange of shadowy body parts is endlessly abstracted by their shaped canvases here.

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.

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 formatiFrom 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 formatifrom the artist's early career in New York during the 1970s recall aerial maps or stratified rock formations.

As the upper layers of paint are dragged across the canvas, earlier moments from the painting's creation are allowed to resurface.

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).

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

Mirrors and canvases specifically made for the exhibition are shown alongside works from the early eighties.

«Ben Wilson: An Abstract Expressionist Vision» will be the next exhibition opening at the Quogue Gallery, featuring 14 paintings, oil on canvas or Masonite, dating from as early as 1963 and running to 1990.

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-...]

The presentation will feature a selection of rarely shown early paintings, iconic canvases from Albers's Homage to the Square and Variant / Adobe series, and works on paper.

At a slight angle to those, some of Bernard Frize's earliest abstract works were made peeled off the coloured skins from pots of paint left open in the studio, and applying them over the surface of the canvas.

The concentrated mass spreads to the edges of the canvas; this is a development from his earlier paintings where Guston coiled the mass more tightly in the center.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Adam D. Weinberg, director of the Whitney Museum, said it submitted a range of works from different periods, including Hopper's «Early Sunday Morning» and Georgia O'Keeffe's haunting «Summer Days,» as well as a posterlike Los Angeles canvas by Ed Ruscha called «Large Trademark With Eight Spotlights.»

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Joaquin Torres - Garcia, Sin titulo (pez)[Untitled (Fish)-RSB-, 1932 Oil on canvas September 6 — November 29, 2009 Joaquin Torres - Garcia (1874 — 1949) is one of the most influential artists of the early 20th century to have emerged from Latin America.

Organized by Suzette Lane McAvoy, the museum's adjunct curator of contemporary art, it presents canvases from every phase, beginning with early, freely painted concentric circles and going through the more rigorous chevrons, diamonds, plaids, asymmetricals and stripes of later years to his recent «Mysteries» series, which revisits the concentric circle motif of his youth.

These works were difficult to categorize: though I thought of myself as a painter, as I had earlier when working with gouache on paper, in defiance of the rules left over from Greenbergian formalism in the New York School that made oil or acrylic on canvas the probative medium, these were not paintings.

In many of the works, the artist confronts the viewer with a direct gaze, a departure from iconic earlier works in which the point of view that remained within the canvas itself.

Fischl's paintings from that time dealt with issues of early sexuality and voyeurism, while his most recent large - scale canvases focus on the tradition of bull fighting.

One of the earliest works in the show is Enter and Exit the New Negro (2001), a minimalist canvas made from perm endpapers — a material used in the straightening of African - American hair.

The one remaining past series, from the 1970s, divides canvas into just two or three areas, like early Brice Marden.

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).

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

The early majestic black Reinhardt canvas from 1954 challenges the limits of sensory perception, with its grid poised on the divide between visibility and invisibility.

Unstretched canvas from the early 1970s has the same play of lightness against weight, much as for Sam Gilliam and Richard Tuttle.

The Turner Prize - winning artist Chris Ofili became an international celebrity early as a result of the «Sensation» exhibition, then morphed his style away from the collaged and encrusted canvases that brought him renown to create sensuous paintings of Afrocentric fantasias — works that are irresistible to collectors but occupying a lower public profile.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

This massive, clothbound volume is comprised of paintings made between 1973 and 2013 and includes artwork from nearly every stage in the artist's oeuvre - from his early oil on canvas works to his most recent flag paintings.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

From his earliest days as an artist, Rauschenberg avidly explored and invented myriad ways of marking paper and canvas, using traditional tools such as paintbrushes, pencils, and woodcut blocks as well as highly unorthodox methods.

Executed in the 1970s as an evolution of his early expressionist canvases, Jack Whitten's large - scale paintings reveal hidden geometrical shapes that emerge from an abstract surface.

In between, we discover paintings on canvas and ink drawings of larger - than - life heads, full - length nudes, Ms. Dumas's daughter as a young child, raunchy strippers, political commentary, and more, from early experiments with a variety of conceptually based approaches to an idiosyncratic, continuing series of portraits of «Great Men.»

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

Boris Margo: Divine Light, 1950 - 1952 features fifteen paintings on paper and canvas from the early 1950s.