Sentences with phrase «large shaped paintings»

In 1967, Krushenick made a number of large shaped paintings on wood panel, such as The Red Baron and Steeplechase, using cartoonish cloud outlines to disrupt brightly striped linear forms.

Dagley discusses his installation of three large shaped paintings - each different in form, color, and approach - which nonetheless create a powerful unified experience.

Not exact matches

Inside a large cave in northwestern Australia's remote Kimberley region, someone painted an elongated, yamlike shape on a ceiling at least 16,000 years ago, new research suggests.

While Bambi chose to paint lined shapes and large blocks of color for her hand painted ceramic vases.

Next, load your large round brush with a dark wash and paint around the outside of the shape you have created.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

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

In front, three very large air intakes shape the front bumper section of the Golf R where louvres on the intakes are painted in high - gloss black, and standard LED strips that serve as daytime running lights are integrated in the two outer air intakes.

Hence the AVANTGARDE line features a front bumper with a sporty design, which looks wider and more athletic than that of the ELEGANCE line on account of the large lower air intake boasting a black painted grille with diamond - shaped perforations typical of a sports car.

Sometimes I dive straight in with the paint, others are drawn free - hand but for a very large and intricate painting like this I use a projector and draw over the image, ensuring that the bowls of the glasses are correct in shape and perspective.

Limitations in some templates; too much wasted white space (would love my work to be displayed much larger); integration of pages to sell prints and / or products with my work on it in pages with the original artwork (lower priced or alternative options for folks who aren't yet ready to invest in fine art); room setting view where customers can see the size / shape of a painting / print in an actual room like over a couch or bed, in a kitchen, etc; greater options in template layout (social buttons and email NL signup at top of page, etc).

I have recently started a series of large scale rubbings on shaped paper — circle, arch, ovals — they are strongly related to my recent paintings, but are monochromatic — greys and blacks — and shift between being voids and objects.

In the larger of the rooms was a series of ink paintings on cracked ceramic canvases shaped as life - sized banana leafs.

Nevertheless, works like Gates of Paradise (1980) and her large Heartland (1985), a heart - shaped fabric and acrylic collage made with fabric flowers scattered over cascades of interlocking painted polygons adapted from Islamic decoration, have a considerable visual impact.

I admire Robert Mangold for his chalky arcs of paint that unsettle apparent right angles in the larger shapes.

The large, partially obscured, mallet - like shape on the left is embedded in the paint, while the tiny ones appear eager to be swallowed up by the deep space of the dark wall they are rushing toward.

A painting I have never been able to see or find an image of since remains in my memory: a large work though made of relatively small shaped fragmented parts arranged in the shape like a giant abstracted question mark.

Large - scale paintings such as Partitions (1971) and Roman XI (1981) feature Tworkov's gestures confined to complex shapes and guided by lines or grids.

Her canvases - some unusually large - are filled with grids and intersecting circles, simplified flower forms, gonad - like shapes, flattened cubes, painted numbers, stray, sometimes invented words, spirals, weird vectors, loop - the - loop lines, pyramids and sunbursts.

Hat, named for a hat shape in the piece, is one of the few large paintings ever to be admitted into the Ashawagh Hall Springs Invitational.

In another large installation, of pipes painted like birch trees and blond wood shaped like pills, even the landscape testifies to his personal degeneration.

-- what are we to make of the white, phallic shape on the left side of painting, pointing down and topped by a large, violent, splashy red brushstroke?

Although these painters started out painting in what was called an objective style, deploying abstract shapes in large space, they soon migrated to using the physical world and representative subjects to experiment with shape, color, texture and temperature in their painting.

A selection of Castellani's large - scale shaped relief canvases, Superfici bianche (White Surfaces), are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners.

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.

In many of your paintings the foreground and background together create an all - over atmospheric field, while in your recent paintings, large star shapes become significant points of focus constructing much more of a figure / ground relationship.

Unexpected Portrait (2016) is a large - scale acrylic - on - canvas painting where a long tube - shaped orange line with dark edges glides across the work defining a cartoon - like head...

Claudia Comte (1983, Grancy, CHE) is a Swiss artist whose sculptures, large wall paintings, and immersive installations emerge from the artist's interest in the shapes and forms of Modernism.

An original member of Park Place, the historic New York artist collective, Novros is well known for his large, abstract paintings on irregularly shaped, multipaneled canvases.

Her paintings, smartly installed at Mary Boone's Fifth Avenue location through February 25, feature symmetrically placed geometric shapes, sometimes collaged onto the surfaces of the large - scale canvases.

Many of her sculptures are simply large cubes or cones, seemingly painted solid white, but a peek from another view reveals caverns of fluid shapes and hues that spiral downward in a series of geometric patterns.

In her transition from drawing to painting, Ingrid Calame, too, looks toward larger, brighter, and splashier shapes.

In contrast, the «ghost paintings» feature large, vacant shapes that obliquely reference the human body and display themselves plainly to the viewer.

Grotjahn even approached Stella's post-1970 shaped canvas with the larger and more intricately divided Butterfly paintings.

A major influence on Pop Art, Minimalism, hard - edge and color field painting, Ellsworth Kelly's best - known works are distinguished by sharply delineated shapes flatly painted in vivid color, such as Colors for a Large Wall (1951).

Further highlights include Polly Apfelbaum's strips of textile that are combined to form a colorfully woven painting; Rashid Johnson's tropical enclave containing various unexpected elements from sculptures made with shea butter to video portraits; Katherine Bernhardt's monumental painting with tropical birds, cuddly robots and cigarette stubs, which at once editorializes and summarizes modern culture and the artist herself; an interactive multimedia installation by Nedko Solakov comprising nine sofas in the shapes of the nine Chinese characters constituting the phrase «I miss Socialism, maybe»; and Yu Hong's large - scale painting depicting a famous Chinese fable widely cited in both modern Chinese art history and Chinese Communist narratives.

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.

One of the largest exhibitions MoMA has ever lavished on an artist, the Polke show — titled «Alibis» — will serve as a vital introduction to his work (which most Americans have only seen in dribs and drabs) and help viewers understand how his early importation of Pop techniques helped shape the work of Kippenberger, Oehlen, and the other standard - bearers of visionary postwar German painting.

His two large paintings, Yesterday, of colored moundlike shapes atop one another and receding in scale, and Carrying, ultramarine squares divided by a white grid accentuated with red squares (sound familiar?)

In Bischoff's earliest non-representational paintings the abstract shapes are large, still deriving from figures against a background; gradually, the shapes have become smaller and more fragmented.

The exhibition at Lisson Gallery includes a selection of paintings from this series, including a large - scale «Lo Wooster» (a variation of the aforementioned shape, hung close to the ground) as well as works on paper, archival material and photographs.

In «Shadow» (2013), a Gustonesque large pale shape is being dragged into shadow against its will, even as a dark bar of paint assaults the shape at the top of the picture plane.

It's extremely hard to paint a large canvas freehand and give it no discernible center, no obvious shapes or patterns.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

The paintings» large size, combined with the density of stacked, angled, and seemingly jumbled geometric shapes, has a disconcerting effect.

The exhibition is one of Stella's largest to date, spanning around 100 works and his entire career, from the «Black Paintings» that propelled him into the art historical canon, to his later works, controversially exuberant mash - ups of shapes, gestures, and styles.

Iva Gueorguieva is Los Angeles - based artist who is known for her large - scale abstract paintings that feature a frenetic mix of overlapping collage, line, shape, and color.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

For this presentation, the artist shows new drawings and large scale paintings of her characteristic colorful geometric shapes and patterns.

The artist's large - scale gray - black acrylic forms appear as bold, sturdy shapes that are constructed in one painting session.