Sentences with phrase «ink over graphite»

Fernand Léger (1881 — 1955) Composition, 1918 Watercolor and brush and black ink over graphite on artist's board 9 x 11 inches (229 x 279 mm) Thaw Collection, The Pierpont Morgan Library, New York © 2002 ARS, New York / ADAGP, Paris

Pablo Picasso (1881 - 1973), Portrait of Marie Derval, 1901, Pen and brush and black ink over graphite on paper.

Joseph Wright of Derby (1734 - 1797), Portrait of John Stavely, ca. 1775, Pen and black ink over graphite on paper, Purchased by Pierpont Morgan, 1909, The Morgan Library & Museum.

Pietro Fancelli, Study for Orpheus and Eurydice (recto); A Bacchanal Procession (verso), circa 1800 — 10, pen and brown ink over graphite on paper, 16 x 22 ⅛ in., Minneapolis Institute of Art

George Romney, Study for «The Lapland Witch,» circa 1775 — 77, brush and brown wash, with pen and brown ink over graphite, laid down, 19 ⅝ x 11 3/16 in., Minneapolis Institute of Art

Not exact matches

In the same movement that stopped me killing trees and smearing graphite or gel ink all over my hand (yes, I am left - handed; no, I don't want to learn to contort my hand so that doesn't happen.

Alexandra Exter Construction for a Tragedy ca. 1925 Gouache, with graphite and pen and black ink, over graphite, on paper prepared with a blue - gray ground Signed in graphite at lower right, A. Exter.

Now think of Ellsworth Kelly: a man, born in the 1920s in New York state, who has been recording his own appearance in ink and graphite over the years, capturing himself as his attitudes changed, his self - perception changed, his face and body aged.

It presents more than 50 color reproductions of graphite, watercolor and ink on paper drawings made by Richter over a period of five decades, from 1966 to 2005.

This includes tempera, gouche, conté, ink with graphite and one work that uses enamel, tar and spackle on tile over board («Lantern Flowers, Sept 7, 2010»).

Galleria Nazionale d'Arte Moderna e Contemporanea, Rome presents the third stage of this major transcontinental tour, Sean Scully: Change and Horizontals, an intensely focused survey comprising of acrylic, ink, graphite and masking - tape drawings from 1974 - 75 - presented together for the first time in over 30 years - as well as two large - scale paintings from the same period and the artist's personal notebooks.

New York — The Drawing Center presents Sean Scully: Change and Horizontals, a focused survey that comprises Sean Scully's (b. 1945, Dublin, Ireland) acrylic, ink, graphite, and masking - tape drawings from 1974 — 75 — presented together for the first time in over thirty years — as well as two large - scale paintings from the same period.

This intensely focused survey is comprised of acrylic, ink, graphite, and masking - tape drawings from 1974 — 75 — presented together for the first time in over 30 years — as well as two large - scale paintings from the same period and the artist's personal notebooks.

Made of generously spaced, horizontal graphite lines laid down over a murky mixture of gesso and India ink, Untitled speaks of the muscular light of a gray day and what the artist has described as «the beautiful grayness of light.»

Galleria Nazionale d'Arte Moderna e Contemporanea, Rome presents the third stage of this major transcontinental tour, Sean Scully: Change and Horizontals, an intensely focused survey comprising of acrylic, ink, graphite and masking - tape drawings from 1974 - 75 - presented together for the first time in over 30 years.

He goes over them with acrylic, gouache, graphite, and ink.

Diverging from his small graphite drawings that determined his practice for so many years, Matthews focuses on large ink and gouache works on paper attached to canvas and stretched over wood supports.

Bartolomeo Pinelli (1781 - 1835), Carnival Scene, 1816, Pen and black ink, and watercolor over graphite.

The artists graphite drawings highlight her signature flowing lines, while paintings feature Cooper's technique of gradually layering washes of acrylic or gouache over India ink.

This presentation is comprised of approximately 50 graphite, watercolor, and ink on paper drawings made by Gerhard Richter (b. 1932, Dresden, Germany) over a period of five decades from 1966 to 2005.

John Ruskin, The Garden of San Miniato near Florence, 1845, watercolor and pen and black ink, heightened with white gouache, over graphite on wove paper laid down on thick, white paper, Patrons» Permanent Fund, 1991.88.1

William Blake, The Great Red Dragon and the Beast from the Sea, c. 1805, pen and ink with watercolor over graphite, Rosenwald Collection, 1943.3.8997

Rocket Sam in — «Tis the Season of Giving on Planet X-38», 2005, black ink and pen over graphite with white gouache, on Bristol board