Sentences with phrase «largest early canvas»

His largest early canvas packs human unrest into two colorful dimensions, like a mural by Diego Rivera.

Gianfranco Baruchello's solo exhibition «Incidents of Lesser Account» presents works made between 1959 and this year, including large early canvases, paintings on layered acrylic sheets and on aluminium, boxed assemblages, and a selection of film and video.

Not exact matches

But he does better in the early scenes here where the young marrieds indulge their lust than in the more stilted dialogue - heavy moments in large open rooms filled with canvases and little else.

Kelly Reichardt's period western «Meek's Cutoff» reunites the minimalist auteur with her «Wendy and Lucy» leading lady Michelle Williams, but reportedly offers her a far larger canvas; early Twitter talk has been glowing.

Set in Paris in the early 1990s, this terrific drama is a large - canvas, richly coloured docudrama about the early members of the French branch of Act Up, the Aids activism group.

In the center of the booth is the 1963 piece Untitled (Four Fur Cutting Boards), a large construction, in the form of a moving, folding screen, that became the backdrop to Schneemann's early and iconic experiments using her body as both canvas and material.

At the Garboushian Gallery in Beverly Hills Seery showed several large new canvases (that seemed larger due to the gallery's own compressed size) in which recur the saturated color, numinous composition, and graceful but urgent gesturality that drove his earlier work.

This period, and these female figure paintings, set the stage for Tworkov's transition into larger - format canvases in the early 1950s, when he loosened his line and painted mostly abstract compositions, relying on the figure.»

This rare example of Monet's draftsmanship was produced early in the artist's career when he was tackling a large canvas depicting a luncheon party of elegantly dressed figures picnicking in a garden.

The Queens Museum of Art will present Lee's signature works — large ballpoint pen works on canvas and on paper — early experimental works, and a fifty - foot, site - specific installation.

They still rely on a flattened cubist spatial structure but on a much larger scale and with light flooding the canvases and brush marks recalling American art of the heroic post-war days; recalling, in fact, his own heroic days, for despite an increasingly sure technique, these later works are quieter, blander even, than the assertive and clamorous combines of his early maturity.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Adam D. Weinberg, director of the Whitney Museum, said it submitted a range of works from different periods, including Hopper's «Early Sunday Morning» and Georgia O'Keeffe's haunting «Summer Days,» as well as a posterlike Los Angeles canvas by Ed Ruscha called «Large Trademark With Eight Spotlights.»

Early on, he painted in a 6 - by - 9 foot room at the YMCA and only began working on large canvases when he could afford a bigger studio.

Fischl's paintings from that time dealt with issues of early sexuality and voyeurism, while his most recent large - scale canvases focus on the tradition of bull fighting.

An early and influential pioneer of Color Field painting, Louis gained renown for his innovative method of staining raw canvases with washes of pigment to create vibrant, large - scale works.

Harkening back to his early days as a multi-purpose experimenter, Schneider presents several large - scale prints on canvas, collages, and an enormous multi-panel abstraction printed on self - adhesive fabric.

Although it pays due attention to the early imagined landscapes (traumatic, compressed worlds of pulsating vegetation and fearful beasts, products of an artist who punned his name with Kraken) the true weight of the exhibition rests in the larger, later canvases — in the ecstatic pantheism of Landscape with the Elements (1973 — 5), or the tessellated calm of Landscape, Hydra (1963 — 7).

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.

In between, we discover paintings on canvas and ink drawings of larger - than - life heads, full - length nudes, Ms. Dumas's daughter as a young child, raunchy strippers, political commentary, and more, from early experiments with a variety of conceptually based approaches to an idiosyncratic, continuing series of portraits of «Great Men.»

After graduating in 1960 and before her tragically early death in 1966, her collages and large bright canvases were exhibited in a number of group shows and in her own solo exhibition at the Grabowski Gallery in London.

At the London branch of Michael Werner Gallery, he's showing works on canvas through early August, and at the prestigious CAPC Museum of Contemporary Art in Bordeaux, a mid-career retrospective of Curry's work began in May with a large emphasis on paintings.

Lines / Edges: Frank Stella on Paper features a range of Stella's experiments on paper including early translations of his Black series and shaped canvases, magnificent color woodcuts and screen prints from the 1980s, and the Moby Dick Deckle Edges, an impressive nine work grouping of large - scale prints from the early 1990s based on Herman Melville's Moby Dick.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

He made Bedroom Breast, 2004, a painted metal relief, referring back to his earlier work, and also Man Ray at the Dance, a large canvas painting, at more than eight by six feet, and eight Sunset Nudes including Sunset Nude with Frame, a painted metal work.

Like the inventive features of his earlier works, these larger canvases extend an aesthetic of transcendence and ethereality.

This was an early example of what is now called site - specific installation, featuring large unframed canvases standing directly on the floor and arranged in two parallel zigzags to suggest a maze, which visitors would be obliged to negotiate - thereby becoming «participants» rather than passive spectators.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Andy Warhol (1928 - 1987) has numerous works coming up for auction this season and this auction has three of his large animal paintings of the early 1980's, the best of which is Lot 67, «Orangutan,» shown below, a 60 - inch - square synthetic polymer and silkscreen ink on canvas.

In the late 1960s / early 1970s, Bowling's interest in decolonized space turned towards the cartographic, as he began work on his celebrated «maps» paintings — large - scale canvases onto which Bowling would paint the outlines of continents and countries, often stenciling images with personal significance onto the map, and painting over the forms with washes of vibrant color.

The catalogue presents numerous large paintings on canvas from the 1960s to the early 1980s, as well as small - scale paintings on paper, to which Bishop turned exclusively in 1986 and which he continues to produce today.

Compositions from the early 1970s, larger in scale than previous work, offer playful variations on numbering systems where the divisions within the canvas followed the Fibonacci sequence of 3,5,8.

According to art critics, Scully's artistic vision follows the traditions of early European concrete art in the manner of Mondrian or Theo Van Doesburg, in relation to its desire for harmony and order, but late American abstraction (à la Pollock and Rothko), in its insistence on utilizing large powerful canvases to express a personal state of mind.

The small, energetic oil on canvas sketches made shortly before the artist's death, are juxtaposed with earlier, large - scale abstract work.

The earliest pieces here, a series of large untitled canvases from the 1980s, featured layers of slashing brushstrokes and splattered pigment in vividly contrasting hues.

Five works are included in the show: Light Brown, Dark Brown, 1964, Canvas Dark blue, 1967, and three large wire sculptures from the early 70's.

Mark Rothkoâ $ ™ s search to express profound emotion through painting culminated in his now - signature compositions of richly colored squares filling large canvases, evoking what he referred to as â $ the sublime.â $ One of the pioneers of Color Field Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled setting.

The first part of the show couples those works with a pair of large early allegorical Durand canvases from the collection of the academy, of which he was a founding member.

The early works prepare the way for such important paintings as Hemlock (1956), Ladybug (1957), and George Went Swimming at Barnes Hole, But It Got Too Cold (1957), large - scale works that signal Mitchell's energetic yet controlled mastery of oil paint on canvas.

The first gallery at Dia: Chelsea feels narrow, with a couple of large square canvases to the right (Untitled, 1962 and Untitled [Background Music], 1962), a triplet of works incrementing in size and respectively on canvas, paper, and plywood to the left (Untitled # 17, 1958; Classico 6, 1968; Counsel, 1983), and a small but powerful early work facing the viewer across the room, decentered (To Gertrud Mellon, 1958).

The largest of these works, Barbara in Spiral Heaven, 1989, carries traces of the artist's hard - edge paintings of the late 1960s and early 1970s, as well as his groundbreaking quilted canvas constructions of the mid - to late 1970s.

The 1986 canvas — a large, early example of Richter's transition from a brush to a squeegee — had been displayed at Museum Ludwig in Cologne, Germany, where it was on loan for 13 years until 1999.

The exhibition presents 23 large - scale canvases and 17 works on paper, outlining the development of each painter's formal vocabulary while suggesting deep connections between and among the works of all three which stretches back to the early 1970s, according to the museum.

These are followed by paintings from the late 1980s and early 1990s made in Chicago, where Marshall lives and works and developed a signature practice of painting in acrylic on the collaged surfaces of large unstretched canvases.

The Soft Abstracts series was a continuation of Details, an earlier series of works made in 1970, in which Richter painted details of thick oil paint, extrapolating them in size to fill the large canvases.

Using a method that involves dripping and pouring paint as well as often stitching and adhering fragments and strips from earlier paintings onto larger canvases, Bowling creates works in the Color Field idiom that are noted for their optical and surface complexities.

Terre verte also figures in two large single - panel monochrome canvases whose composition — a rectangle or square resting on a smaller rectangle — recalls Marden's early monochromes, the bottom area showing the many layers used to build up the painting.

The eight works in the show will include several large - scale canvases, works on paper, and an important early triptych, all from the 1980s.

His early work — forceful abstractions, ranging from large canvases to small collages — soon made his name as a second - generation Abstract Expressionist (1), part of a group of young New York School artists that included Grace Hartigan, Norman Bluhm, Michael Goldberg, Al Held, and Joan Mitchell.