Sentences with phrase «large graphic painting»

Not exact matches

Back at home, he converts his mental maps into large paintings which use solid, brightly coloured shapes and high - impact graphics.

It included 1.4 - liter MultiAir engine, choice of 3 body colours (Bianco (white), Verde Chiaro (light green) or exclusive Celeste (celestial blue) with Bianco roof and mirror caps, 16 - inch retro wheel design with a wide chromed lip, body - color accent and large center cap with historic «FIAT» emblem; a sport - tuned suspension and all - season performance tires, «FIAT» badges on the front fascia and rear liftgate, Avorio (ivory) interior, Marrone (brown) leather seats, Avorio accent stitching at the seatbacks and seat cushions and perimeter; Grigio (grey) door panels with a unique Avorio inner panel, Marrone door armrests and shift boot (with manual transmission) are color - keyed to the leather seats; exclusive Avorio leather - wrapped steering wheel with Marrone leather on the «inner ring» and features a retro «FIAT» badge; a uniquely styled key fob with Marrone casing and Avorio - painted «1957» graphic, six - speaker and 276 - watt FIAT premium audio system with SiriusXM Radio, C514 five - speed manual transmission (optional six - speed automatic transmission with driver - selectable gear changes), driver - selectable «Sport» mode on the instrument panel.

Changes to the Continental GT for 2015 include a new front bumper with a smaller radiator shell, redesigned fenders with a new vent with a metallic «B» adornment, new bright chrome fender badges for the V8 S and W12 models, redesigned boot lid, reshaped and widened rear bumper with full - width brightware, a new rear diffuser design for V8 S and GT Speed, new 20 and 21 - inch wheels (new 20 - inch 6 tri-spoke wheel for GT V8 and GT W12 with painted finish for V8 and bright machined for W12, 21 - inch seven - twin - spoke wheel in Graphite grey with bright machined spokes for Mulliner Driving Specification models, addition of 21 - inch five - spoke directional sports wheel for V8 S and GT Speed), three new body colours choices (Marlin (a rich metallic blue), Camel (a soft golden tone) and Jetstream (a light, bright metallic blue), new straight - fluting pattern for 4 seats with Mulliner Driving Specification (standard on GT Speed) includes a tightened «small - diamond» pattern on seat upholstery, redesigned driver controls, optional sports - orientated steering wheel, larger gear - shift paddles incorporating tactile knurled metal embellishers, new dials and graphics at driver's instrument panel, interior illuminated by LEDs, centre console with a new black gear lever surround, a new hidden storage compartment between rear seats capable of accommodating and charging electronic devices including iPads, optional semi-aniline hide for the seat cushions and backrests in the GT W12 and GT Speed, 2 new leather colours choices (Shortbread, Camel), new Alcantara headlining option (colour matched to all 17 of the available interior hide colours) for the GT V8 S, GT W12 and Speed coupe; optional on - board WiFi, increased engine power to 590 PS (434 kW; 582 hp) and 720 N ⋅ m (531 lb ⋅ ft) for the GT W12, 6 - cylinder deactivation for the GT W12.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

Unlike most large surveys, this eloquent, accessible volume takes a close, in - depth look at specific works of art and series, including paintings, drawings, graphics, sculptural pieces, and illustrated books from all periods of Johns's career.

The format of Rythm Mastr, whether as an animated feature, graphic novel, or multi-panel sequence on newsprint, may feel like a departure from Marshall's painting practice, more tethered to pop culture than the high - brow arena where the artist's large - scale works fetch seven figures.

In the SLG's main space, back garden and Clore Studio, a series of «hard» sculptures «large, uniformly painted metal shapes» refer to the language of statistics or graphic representations of data.

Happily, the Tate's expansive exhibition recognizes the centrality to Hamilton's work of print as idea and printmaking as process — a welcome antidote to the many surveys that concentrate on painting and sculpture to the exclusion of graphic art — and showed the prints as fully integrated within the larger body of Hamilton's wide - ranging oeuvre.

The exhibition includes large - format paintings, silk screens, graphic works and designs on paper, vinyl, and other materials, from private col...

From Arts and Crafts motifs to excerpts from Surrealist still life and Mannerist portraits, Keogh blends a wide - range of source material in her large, graphic paintings.

In the exhibition, Andy Warhol's Flowers are echoed in the graphic florals of a Christopher Wool painting; a monumental Concentric Square painting by Frank Stella faces off with a large Donald Judd stack; and the cracked - earth surface in Alberto Burri's Cretto finds its literal counterpoint in the crumbled asphalt bed of a David Hammons Basketball Drawing.

Also included in «Big Spaces and Large Planes» are: the loosely graphic paintings of Cathy Fiorelli who shares studio space with eleven other artists at the Middletown Pendleton Art Center; the perceptive works on femininity of Pattie Byron from West Chester; the Kente Cloth - inspired art quilts by Miami University - educated Linda Kramer; the mixed media of Oxford's Maureen Nimis with her cut paper and photographic work; the small works by Catalog & Slavic Librarian at Miami University, Russian - born Masha Misco; and the jewel - like small photographs of Denver - born Cincinnati resident Brian Luman whose exploration of urban crevices is fueled by his skateboard and camera.

Starting with two patterns, a two - tone, green ivy motif and a graphic image of white birds, MacDonald made large stencils through which she applied paint and plaster directly onto the room's walls.

Garth Weiser's large - scale painting The 2009's relates as an aggressive graphic breakdown while Matthew Sheridan Smith's newspapers, Untitled, and Adam Putnam's Untitled (headbox) present a recursive visual loop.

The expansive Longside Gallery featured the artist's large, bright, graphic canvases immaculately rendered in acrylic paint, alongside towering sculptures in fibreglass and wood.

The exhibition presents approximately 375 artworks, including five large - scale installations at P.S. 1, and explores the full range of Roth's creative accomplishments: paintings, drawings, graphic works, books, sculptures, installations, and film and video works.

The expansive Longside Gallery will feature the artist's large, bright, graphic canvases rendered in acrylic paint, alongside towering sculptures in fibreglass and wood.

The works merge traditional drawing and painting techniques with large - format digital printing and computer graphics.

KAWS» deep black Michelin - like figure CHUM (2009) stands determinedly next to graphic paintings by Gokita, offering his protection to the naked and faceless vulnerables posed in the images, while ACCOMPLICE (2010)-- a matte black toy bunny sculpture with large Xs covering his eyes — stands hunched in defeat across the room, out of sync with the bright canvases that surround him.

These works on paper are her most powerful creations, and there is a rich affinity between her graphic pieces, such as the sublime T&I, and Twombly's large paintings and collage - drawings.

Filled with light installations, monumental paintings, interactive graphic works and large scale public sculptures, Happy Station is designed to bring playfulness and delight to the day - to - day commute, making it the happiest train station on earth.

Untitled (2012) is a departure from both the fleshy tonality and graphic war imagery of the artist's larger paintings.

Within the Pop Art tradition, he has created a prolific body of influential work that straddles the worlds of art and design including street art, graphic and product design, paintings, murals, and large - scale sculptures.

His unique style integrates traditional drawing and painting techniques with large - format digital printing and computer graphics.

In 2001 the Lermite Foundation and the museum jointly acquired more than 200 works of the artist (large paintings, stained glass projects, drawings, lithographs and other graphic works).

Traveled to: Denver Art Museum, January 25 — March 22, 1992; Joslyn Art Museum, Omaha, April 9 — March 31, 1992; Pittsburgh Center for the Arts, July 5 — August 23, 1992; The Goldie Paley Gallery, Moore College of Art and Design, Philadelphia, September 5 — October 11, 1992; Telfair Academy of Arts and Sciences, Inc., Savannah, Georgia, January 5 — February 21, 1993 (Catalogue) Group exhibition, Paula Cooper Gallery, New York, September 7 — 28, 1991 Portraits on Paper, Robert Miller Gallery, New York, June 25 — August 2, 1991 Portraits, Linda Cathcart Gallery, Santa Monica, May 1991 Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, Academy and Institute of Arts and Letters, New York, May 15 — June 9, 1991 In Sharp Focus: Super-Realism, Nassau County Museum of Art, Roslyn Harbor, New York, April 14 — July 7, 1991 (Catalogue) 1991 Biennial Exhibition, Whitney Museum of American Art, New York, April 2 — June 30, 1991 (Catalogue) Selected Prints from Spring Street Workshop, Tomasulo Gallery, Union County College, Cranford, New Jersey, March 8 — 28, 1991 Academy - Institute Invitational Exhibition of Painting & Sculpture, American Academy and Institute of Arts and Letters, New York, March 4 — 30, 1991 Louisiana: The New Graphics Wing, Louisiana Museum, Humlebæck, March 3 — 31, 1991 (Catalogue) Large Scale Works on Paper, John Berggruen Gallery, San Francisco, February 21 — March 16, 1991 (Catalogue) Image & Likeness: Figurative Works from the Permanent Collection, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, January 23 — March 20, 1991 Artist's Choice — Chuck Close: Head — On / The Modern Portrait, The Museum of Modern Art, New York, January 10 — March 19, 1991.

Wall paintings, bronze sculptures, large format photographs, portraits or architectural views, as well as drawings and graphics witness the diversity of his approach.

Allison Katz's new commission combines graphic work and painting, taking the form of a poster announcing, and displayed alongside, a new large - scale painting.

The Family of Man Shadow and Substance: The Shadow Theater of Montmartre and Modern Art Contemporary Calligraphers: John Marin, Mark Tobey, Morris Graves Contemporary German Graphics [catalogue unavailable] Modern Textiles and Ornamental Arts of India [catalogue unavailable] Art Rental Service — 1957 Collection [catalogue unavailable] Large Scale Paintings II [catalogue unavailable] Let's Face It: An Exhibition of Contemporary Portraits Monumentality in Modern Sculpture

The pieces are, Gray notes, the antitheses of his large scale paintings, graphic and minimal versus realistic and maximal, full of competing textures and surface treatments.

With their large, flat blocks of colour and seductive shimmer, Gary Hume RA's paintings have a graphic simplicity that translates terrifically well into silkscreen and linocut — printmaking techniques that are known for their density of pigment and even distribution of ink.

The main event at the Biennial, which opens on Sept 6, will be a large - scale exhibition at the Art Play Design Center showcasing the works of all artists invited and will include both graphic work, installations, sculptures and mural painting.

Phillis Ideal: Recent Paintings 2008 - 2012 Phillis Ideal's work is about the materiality of paint which represents a wide range of abstraction: layers of transparent and thick, brushed and sprayed paint; collaged fragments imbedded in medium; zeroxed rasta dots, computer graphics, shards of other drawings; as well as, large gestural brush strokes.

One of Rogers» best - known bodies of work is the Dark Horse series, comprised of often large - scale, highly graphic, black - and - white paintings of horses and riders, or abstracted images of racing hooves.

The Everson is home to approximately 11,000 works of art: American paintings, sculpture, drawings, video, graphics and one of the largest holdings of international ceramics in the nation.

Her works are graphic, and appear commercially manufactured, however each work is meticulously hand - made, with a brush or pencil; she paints or draws the discrete objects herself, and employs a sign painter to produce her large - scale architectural interventions.

Represented South Africa at the Venice Biennale 1959 Solo exhibition of woodcuts at Wittenborn Gallery, New York Represented SA Touring exhibition, South and North America Painting and Sculpture, National Arts Club, New York Represented South Africa at Sao Paulo Biennale Represented on The National Arts Club International Exhibition of painting and sculpture, New York 1960 Represented South Africa at Ljubljana, Yugoslavia International graphic exhibition Exhibition of incised woodblock paintings at the Egon Guenther Gallery, Johannesburg 1961 Large mural, the Apocalypse, in Our Lady of the Rosary Roman Catholic Church Motsethabong, Welkom, Orange Free State Represented South Africa at Sao Paulo Biennale Made Stations of the Cross for Our Lady of Lourdes Roman Catholic Church, Rivonia, Sandton 1962 Guest Artist of the year at the Transvaal Academy Exhibition of Rock Faces, Egon Guenther Gallery, Johannesburg Designed tapestry St. Anne, woven by Marguerite Stephens, and carved the Stations of the Cross for St. Anne's Anglican Church, Piggs Peak, Swaziland 1963 Appointed President of South African Council of Artists in succession to Walter Battiss Principal witness against State at the Harold Ruben blasphemy trial Represented South Africa at International Conference of Plastic Arts at UNESCO, New York Became founder member of the Amadlozi Group consisting of Eduardo Villa, Sydney Kumalo, Cecily Sash and Guiseppo CPainting and Sculpture, National Arts Club, New York Represented South Africa at Sao Paulo Biennale Represented on The National Arts Club International Exhibition of painting and sculpture, New York 1960 Represented South Africa at Ljubljana, Yugoslavia International graphic exhibition Exhibition of incised woodblock paintings at the Egon Guenther Gallery, Johannesburg 1961 Large mural, the Apocalypse, in Our Lady of the Rosary Roman Catholic Church Motsethabong, Welkom, Orange Free State Represented South Africa at Sao Paulo Biennale Made Stations of the Cross for Our Lady of Lourdes Roman Catholic Church, Rivonia, Sandton 1962 Guest Artist of the year at the Transvaal Academy Exhibition of Rock Faces, Egon Guenther Gallery, Johannesburg Designed tapestry St. Anne, woven by Marguerite Stephens, and carved the Stations of the Cross for St. Anne's Anglican Church, Piggs Peak, Swaziland 1963 Appointed President of South African Council of Artists in succession to Walter Battiss Principal witness against State at the Harold Ruben blasphemy trial Represented South Africa at International Conference of Plastic Arts at UNESCO, New York Became founder member of the Amadlozi Group consisting of Eduardo Villa, Sydney Kumalo, Cecily Sash and Guiseppo Cpainting and sculpture, New York 1960 Represented South Africa at Ljubljana, Yugoslavia International graphic exhibition Exhibition of incised woodblock paintings at the Egon Guenther Gallery, Johannesburg 1961 Large mural, the Apocalypse, in Our Lady of the Rosary Roman Catholic Church Motsethabong, Welkom, Orange Free State Represented South Africa at Sao Paulo Biennale Made Stations of the Cross for Our Lady of Lourdes Roman Catholic Church, Rivonia, Sandton 1962 Guest Artist of the year at the Transvaal Academy Exhibition of Rock Faces, Egon Guenther Gallery, Johannesburg Designed tapestry St. Anne, woven by Marguerite Stephens, and carved the Stations of the Cross for St. Anne's Anglican Church, Piggs Peak, Swaziland 1963 Appointed President of South African Council of Artists in succession to Walter Battiss Principal witness against State at the Harold Ruben blasphemy trial Represented South Africa at International Conference of Plastic Arts at UNESCO, New York Became founder member of the Amadlozi Group consisting of Eduardo Villa, Sydney Kumalo, Cecily Sash and Guiseppo Cattaneo.

Each of the paintings is slightly larger than life - sized, flat, not messy, loosely abstract, and look like a graphic combination of stained glass, dish towels, mystic dotted Australian dream paintings, and nonrepresentational movie posters.

In her large, multi-media works, vivid spray - painted, translucent atmospheres are contrasted with opaque, hand - painted geometric areas reminiscent of pointillism or pixelation, a juxtaposition that creates significant spatial depth Recent works such as «Gray Matter» (2017) inhabit an intersection between the theatrical baroque and the graphic specificity of stained glass, which is accentuated a dynamic sense of movement, swirling spirals, upward diagonals, and heavy impasto.

Tim Greshman otherwise known as Mr Penfold works in a variety of fields and mediums, including painting, graphic design, screen printing, installations, and large - scale murals.

Unlike the large - scale paintings, Rauch's smaller works are softer and more graphic, with isolated figures and deserted landscapes, like fragments from completed pictures that have become independent.

Intending to «give Abstract Expressionism structure,» Held used his alphabet paintingsas a bridge to his later black - and - white paintings of still larger size, which further stressed the visual and conceptual anomaly that occurs when graphic illusion meets no - nonsense physical surface.

There is indeed a rivulet of impishness to these large paintings, a rascality that is actually more pronounced in the smaller works, where Lasker's graphic marks realize greater flourish.

Leaving the original paint and textures on these doors, De Croock and his father, a woodworker, constructed these impressive large - scale collages, starting with De Croock translating his graphic art onto wood, and cutting them piece by piece and assembling the works like huge puzzles.