Sentences with phrase «layers of oil paint as»

Building up multiple layers of oil paint as he works, Richter mobilizes paintbrush, squeegee, scraper and palette knife in his signature process, his wealth of experience meeting his careful deployment of chance in highly detailed and extremely complex pictures.

Not exact matches

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Different mixed media painting techniques, using glue, string, card, wax, paper to manipulate and to create texture with acrylic paint Looking at famous artists like Jackson Pollock, Frank Auerbach, David Bomberg, John Hoyland and Howard Hodgkin Resources: Acrylic paint, Sponges, sticks, large and small paintbrushes, credit card, string, glue, Punchinella, kebab sticks batik wax, sand, tissue paper, scrap paper and glue guns, Creating a number of different textures with acrylic paint and see what other mixed media layering one can achieve with chalk and oil pastel as well to layer over the acrylic paint.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

«I've always liked the physicality of paint,» says the artist Angel Otero, who transforms liquid material into thick - yet - elegant layers, or «oil skins,» as he calls them.

The densely layered surface of built - up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

Her works in oil are as evocative as those in acrylic / ink / enamel spray paint and the juxtaposition of light washes and heavily layered paint reinforces contrast in many of her works.

Images are established through a rigorous process: layering ink and acrylic as a foundation, with subsequent layers of oil paint to transform.

This exhibition also draws attention to works in the Museum's collection such as Frank Stella's (b. 1936) Moby Dick prints, currently on view in the adjacent Connecting Chaos exhibition, in which he layers cut paper onto multiple print processes, and Keltie Ferris's (b. 1977) The Wrestler (2009) in the Museum's atrium, which incorporates oil, acrylic, and spray paint into an abstract layering of color and shapes.

Leonhardt trowels oil paint with the palette knife, adeptly plowing layers of colors upon each other, as farmers might do part to enrich the soil for the next crop.

The painting process reveals itself as images and elements are layered with thin washes of oil and acrylic paint on wood panels.

Painted with thick layers of oil paint, and incorporating objects such as stones, hair, shells and keys, the Madonnas are both menacing and mesmerizing — typified by unnerving gazes and prominent, tooth - filled mouths that grimace and gape.

Technically, the dark and mysterious atmosphere results in part from the artist's manual intervention on each print as he coats them with layers and layers of digital ink, in the manner of an oil painting.

Most of his paintings are made by «un-painting» as well as painting: A language that he has made his own; oil paint is applied in layers and dissolved away with turpentine, forming something quietly and unexpectedly beautiful.

It's clear that Heinze relishes the process of painting, using acrylic and oil as almost sculptural materials in thick, buttery strokes that build layers of colour.

The non-representational imagery serves, as a form of «freedom» and «illegibility» becomes my personal response to the media's claims of «reality» and «fiction» My method, a systematic layering of photographic ink, water, vinyl and oil based paint, produces renderings that are non-objective («representing or intended to represent no natural or actual object, figure, or scene»).

Calame uses the documentary information from the tracings as a stepping off point or scaffolding in the creation of formal compositions that engage with layering and fragmentation while letting the oil paint soften the movement from line to shape.

Instead of using canvas — as he had done previously — Richter experimented with Alucobond, a composite of aluminium and plastic, because of the unexpected effects that result when coloured oil paint is layered onto the very smooth surface of this material.

A talented draughtsman and former student of Arshile Gorky, Burkhardt thought painting must have careful drawing as its basis: He always sketched in pencil, pastels, or ink before building up his heavily layered, fleshy surfaces in oil.

«The Stylist» features a simply drawn woman up front, with layer upon layer of oil paint in the background; it's as if Gendel used the material itself to build up emotional or spiritual complexity....

In past work, the paint more dramatically creased, pinched, and folded as the artist piled layer upon layer of oil skins on the canvas, further abstracting the image.

These will be complemented by the layered, painterly works of Scottish artist Alasdair Wallace, as well as Hepzibah Swinford's floral oil paintings.

The works use contemporary military camouflage as the base canvas, imitating and disrupting the underlying patterns with thick layers of oil paint applied through an «action painting», similar to that of Jackson Pollock.

CAM Raleigh presents five of these signature works — all abstract — in which the artist layers oil paint onto a plate - glass or Plexiglas support before scraping off the accumulating «skins,» as he calls them, and collaging them onto a canvas, letting the thickened medium ripple, sag, and wrinkle, marvelously, across the cotton surface.

Attentive to the details of his surroundings, such as the curve of a green field on the horizon or the shifting shadows as they're cast throughout the day, Kelly builds up his monochromatic paintings with thick layers of oil paint, creating a surface that is impenetrably opaque.

The Starbucks of artistic gentrification, as Smith's has been called, made auction history thanks to his canvases with layered oil paint and detritus like newspaper and aluminum pie plates.

Though the paintings appear monochromatic at first glance, extended viewing reveals a hidden layer of prismatic color: Brody incorporates colored pigments into the black and grey plaster bases and mixes gridlines with colored oil paint, creating the sensation of a pulsing center as the underlying color becomes subtly perceptible.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.