Horizontal pencil lines perhaps half an inch apart are ruled to the edges of a framing border of bare canvas two inches or so on all four sides.
Agnes Martin, a small painting on canvas featuring a painted white square and a series of
horizontal pencil lines, is a good example of this.
For each painting, he used a ruler to divide the paper into equally sized quadrants, drawing a vertical and
horizontal pencil line that intersected at the surface's center.
It also introduces a pale tangerine to Martin's familiar palette of sky, blush and sand, and a new, vertical orientation — albeit moored by a thin,
horizontal pencil line running like a seam across the precise middle.
Not exact matches
The only compositional elements are
horizontal bands of uninflected gray and, at regular intervals,
pencil lines that stop just shy of the canvas's edge.
Echoing the compositional elements of vertical and
horizontal lines that were characteristic of Martin's work, the Dear Agnes series is comprised of hundreds of
pencil grid drawings in seemingly endless permutations.
Horizontal lines in
pencil make them look torn out of a schoolbook.
Leaf consists of a six - by - six - foot primed canvas, the surface of which is divided with 255
horizontal and 71 vertical
pencil lines, creating a geometric web of small rectangular spaces.
The American artist Agnes Martin (1912 — 2004) is known for her paintings which are made up of
horizontal bands of colour, separated by faint hand - drawn
pencil lines.
Throughout the 1950s and «60s, she developed a signature grid - pattern method consisting of
horizontal and vertical
lines hand drawn in
pencil on large square canvases that, at first glance, seem to appear blank.
In between the
penciled horizontal lines dark violet - blue is painted in repeated strokes with a small brush from one side to the other; the blue
line is brushed horizontally as far as the paint the brush can carry lasts, and then the brush is loaded with more paint to continue the
line across.
ADOLPH GOTTLIEB (1903 - 1974) Untitled, for the Benefit of Phoenix House etching and aquatint in colors, 1972, on wove paper, signed and dated in
pencil, annotated «Artist's Proof» (the edition was 125), published by Brooke Alexander Editions, New York, with full margins, minor surface soiling, vertical and
horizontal lines of staining on the reverse (not showing through), otherwise in good condition, framed P. 23 1/2 x 17 3/4 in.
Agnes Martin has described her paintings as being about «light, lightness, about merging, about formlessness»» The
horizontal lines of delicate colour with
pencil outlines seen in this painting are typical of Martin's work.