Sentences with phrase «from woodblocks»

On a single work's surfaces, on a colored ground, Zheng makes thousands of prints from woodblocks he has carved, printing type, found stamps, and more recently Chinese papercuts; he finishes the work by painting into it by hand.

Drawing on a tradition of printed prayer books and literary texts that stretches back over centuries, she has woven streams of paper cut from a woodblock - printed book into five separate three - dimensional scrolls.

Not exact matches

Rabble wines include single varietals with labels showcasing a selection of historical woodblock print renditions from the Nuremberg Chronicles from the 1400s.

Using Peru as home base, we paired Woodblock's single - origin chocolate with a single - origin Peruvian coffee from Stumptown.

2017 Desk Calendar, with woodblock stand handmade in Los Angeles from reclaimed wood.

Inspired by woodblock motifs from India, our print features shades of pretty plum and alluring aqua.

I fell in love with so many of the patterns in their collection, from the super chic Indiennes style to this graphic Vriksa woodblock.

There's so much pleasure in the ambitious production design too, from the exquisite puppets and sequences influenced by traditional shadow play to animation inspired by Japanese woodblocks and Alexandre Desplat's striking, non-orchestral score, which is fully in tune with the film's setting.

This photo gallery represents my third take on the famous Japanese woodblock print series «12 Views of Mt. Fuji», which showcases the nearly - symmetrical Mt. Fuji from 12 outstanding vantage points around the Japanese countryside.

Within a week of MoMA's reinstall, the Metropolitan Museum of Art unveiled «Open Access»: a shift toward becoming an ostensible museum without borders, wherein the digitized catalogue of all public domain artworks from its collection, totaling more than 375,000 images — from Japanese woodblock prints, to studies by American modernist painter Arthur Dove, to Eugène Atget's gelatin silver prints of a Haussmann - izing Paris — are now accessible and downloadable to anyone with an Internet connection, anywhere, at any time.

The result was a taut but fluid composition so refreshingly removed from traditional woodblock technique that it has had a deep influence on the medium ever since.

In Greene Street Mural, Lichtenstein layered pervasive images from his pop lexicon — marble - patterned composition notebooks, cartoonish brushstrokes, and Swiss cheese — with new motifs, including the Neo-Geo tropes of the Perfect / Imperfect paintings; faux woodblock shading patterns; and office items including filing cabinets, envelopes, and folding chairs.

Elsewhere throughout the exhibition, Asian art abounds: from Zao Wou - ki's 1953 «Lune Noire,» a dreamlike vision of blue and gold, to the delicately detailed ukiyo - e woodblock prints, to Nam June Paik's «Global Grove,» an avant - garde 1970s video art that both reflects on and foreshadows the growing impact of television as «the landscape of tomorrow.»

McCloud, who worked on construction sites for more than a dozen years, transitioned from design to visual art and now utilizes the industrial materials, tools and equipment with which he is so familiar, in combination with traditional pigment and woodblock printing techniques, to create his works.

(1) The nine prints on view from the 1960s, 70s and 80s, demonstrate his mastery through lithography, etching, silkscreen, and woodblock, and further illuminate his extensive exploration of line and mark making.

Taking influence from classical portraiture, Egyptian hieroglyphs and Japanese woodblock prints, as well as public signage, information boards, and traffic signs, the artist connects the clean visual language of modern life, with the fundamentals of art history.

She has her BFA from Herbert Lehman College, was trained in etching color print with Maria Samosa (El Museo del Barrio, NYC, 1972 - 3), in viscosity printing with Arun Bose and Krishna Reddy (NYC, 1972 - 3), papermaking with Zarina Hashmi (NYC, 1979), and in Hanga (Japanese water based woodblock printing) with Sensei Toshi Yoshida (Nagano — Japan, 1984).

The exhibition spans more than a century of Japanese color woodblock printing as represented by three generations of artists who produced prints from the 1830s to the 1970s.

Kawase Hasui (Japanese, 1883 - 1957), Asahi Bridge, Ojiya, from the series Souvenirs of Travel, Second Series, August 14, 1921, woodblock print, ink and color on paper.

Drawing inspiration from the rawness and decay of the urban landscape, McCloud creates rich, large - scale abstract paintings and sculptural objects by fusing unconventional industrial materials — tar, bitumen, aluminum sheeting and oxidized steel plates — with traditional pigment and woodblock printing techniques.

Now at Chelsea's David Nolan Gallery, «Mel Kendrick: Woodblock Drawings» reassembles a series of large - scale woodblock prints created in 1992 and 1993 along with a single spidery wooden construction.4 What from far away resemble surrealist drawings are revealed, upon closer inspection, to be enormous paper sheets printed with equally enormous plywooWoodblock Drawings» reassembles a series of large - scale woodblock prints created in 1992 and 1993 along with a single spidery wooden construction.4 What from far away resemble surrealist drawings are revealed, upon closer inspection, to be enormous paper sheets printed with equally enormous plywoowoodblock prints created in 1992 and 1993 along with a single spidery wooden construction.4 What from far away resemble surrealist drawings are revealed, upon closer inspection, to be enormous paper sheets printed with equally enormous plywood stamps.

Yun - Fei Ji (Chinese, born 1963), «Migrants of the Three Gorges Dam,» 2009, hand - printed watercolor woodblock mounted on mulberry paper and silk, 18-1/8 x 348-3/8 inches, number 106 from edition of 108

Japanese Impressions: Color Woodblock Prints from the Rodbell Family Collection is the first exhibition at the Clark to focus on the Institute's permanent collection of Japanese prints.

Image: Helen Frankenthaler, Freefall, 1993, Hand - dyed paper in 15 colors and 12 color woodcut from 1 plate of 21 woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).

Water and Shadow: Kawase Hasui and Japanese Landscape Prints emphasizes Hasui's earliest and most creative period of woodblock print design from 1918 to the Great Earthquake of 1923, when many of his early prints were destroyed.

Ukiyo - e prints and books from the 19th to the early 20th centuries, including works by woodblock print masters Hiroshige (1797 - 1858), Hokusai (1760 - 1849) and Yoshitoshi (1839 - 1892).

More recently, his work has addressed social and political controversies through large - scale narrative paintings that combine elements of the Japanese woodblock print with inspiration from Renaissance church art.

Frankenthaler has worked with Pace Prints to create four Ukiyo - e plus woodcuts, including «Geisha» (2003), a twenty - three color Ukiyo - e woodcut printed from 15 woodblocks on Torinoko paper and mounted onto Fabriano Classico, as well as «Book of Clouds,» a large - scale print using a combination of aquatint, woodcut and pochoir techniques.

The workshop will focus mainly on woodblock printing, the choice of medium of Taring Padi, an artist - activist collective from Yogyakarta which Yusuf is founding member of.

Included among these are two monumental, sculptural wall pieces constructed from the rough - hewn woodblocks McCloud used to stamp the paintings in the exhibition.

Right, from left to right: Bayer Book (2014), digital print and acrylic, 4 x 24 x 13 inches; Gate II (woodblock)(2014), digital print and acrylic, 24 x 14 inches; Gate (woodblock)(2014), digital print and acrylic, 24 x 14 inches.

In her display, images of beggars from art history are exhibited on a low table, quite literally begging a closer look, while a series of nine woodblock prints, based on Ernst Barlach's 1919 sculpture of a cloaked mendicant, initially seem childlike in terms of their composition, but prove deeply affecting.

This exhibition features the artist's recent works since 2010, which include botanical drawings on collages comprising pages from 19th Century lady's magazines, dictionaries and Japanese woodblock books.

Rebecca Salter RA's prints from the Sato Woodblock Workshop in Kyoto are part of the Summer Exhibition.

Helen Frankenthaler, Snow Pines, 2004, thirty - four color woodcut from sixteen woodblocks on handmade paper.

Kawase Hasui (Japanese, 1883 - 1957) Kiyomizu Hall, Ueno, from the series Twenty Views of Tokyo (Tokyo nijukei, Ueno Kiyomizudo), 1928, Color woodblock print on paper.

Relief printed from 11 woodblocks on Somerset Velvet, Soft White, 300 gsm.

Helen Frankenthaler, Freefall, 1993, hand - dyed paper in 15 colors and 12 color woodcut from 1 plate of 21 woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).

Throughout her career, New York artist Gloria Garfinkel (b. 1929) has drawn inspiration from the vivid designs and unexpected color combinations of Japanese fabrics and woodblock prints.

Drawing influence from classical portraiture, Egyptian hieroglyphs and Japanese woodblock prints, as well as public signage, information boards and traffic signs, the artist connects the clean visual language of modern life, with the fundamentals of art history.

A week - long exploration working in intaglio to create multi color prints from one copper plate, combining traditional etching process with a la poupee inking, mono printing, chine colle, with the option of using a woodblock as a second plate / matrix.

Detail: Yase Village from the series Famous Places in Kyoto, n.d. woodblock print, by Ando Hiroshige (Japanese, 1797 - 1858).

Japanese Art at Skinner includes fine paintings, calligraphy, and woodblock prints, pottery, sculpture, netsuke, and textiles from antiquities through contemporary works.

Utamaro, the Japanese master of the woodblock print, is one of Katz's own eclectic reference points — along with Jackson Pollock, Sixties television advertisements and an Egyptian sculptor from the second millennium BC.

An exhibition of the prints, including woodblocks and progressive proofs will be on view at Pace Prints, 32 East 57th Street, from September 11 through October 18, 2014.

Helen Frankenthaler, Tales of Genji IV, 1998, twenty - one - color woodcut from twelve woodblocks and one stencil on handmade paper, 47 × 42 inches (119.4 × 106.7 cm)

Works include woodblock prints, hand - painted scrolls, metal works and sculpture that highlight esteemed and centuries - old artistic practices and traditions from the cultures of Japan, China, India, Tibet and Thailand.

His recent inventive, refreshing exhibition — Brandt's first solo show in Europe — presented three series of woodblock prints, all made on the artist's handmade paper with his handmade ink, in frames crafted by him from his own matrices.

Contextual label information from the exhibition Japanese Woodblock Prints, March 19 — April 27, 1980 at the Dallas Museum of Fine Arts.

In the mid 1980s, he relocated to Knoxville, TN, set up a studio and continued making paintings on wood panels that were inspired by the carved and stained woodblocks left from printing projects.