Sentences with phrase «layers of oil paint on»

The technicolor figures pop off the Belgian canvases - a combination of a clear gesso base, sprayed acrylic under paint, and thin layers of oil paint on top.

This contrast, seen throughout the galleries, can be summed up with Earthwork, a dynamic abstraction built with sheer layers of oil paint on panel.

Otero begins by applying layers of oil paints on a piece of glass in reverse order.

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.

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.

Liat Yossifor — I have worked before with one layer of paint while it is still wet and moveable, and the duration of the piece was until the paint starts to dry, which for oil paint is on the fourth day.

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.

Through his investigational approach, Otero combines the traditional act of painting with his innovative creation of «oil skins,» produced by layering oil paint on glass and then peeling it off in «sheets» before transferring it to canvas.

Of central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementOf central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementof oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movements.

Through a process of applying many translucent layers of oil paint onto canvases lying on the floor random expressionistic color fields are created sometimes with broken geometric structures floating on the surface.

The one oil on canvas work in the show, Abstraktes Bild 875 - 3 (2001), sings a muted song of representation, buried beneath layers of paint which seem chiselled away in order to reveal something urgent but ultimately lost beneath.

Thea Ballard with a short review on Bracha L. Ettinger's latest exhibition at Callicoon Fine Arts, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

Included alongside Hirst's work were a large series of Dominic Denis's oil on canvas paintings, «Directions» (1990), and a new series of Angus Fairhurst photographic works layered with gel.

With highly textured surfaces, the result of layers upon layers of oil paint, Auerbach's oil on canvases are rather more obscure, even, you could say, undecipherable.

Threadlike lines of oil paint are applied on highly saturated layers of enamel, and joined wood panels, connoting the architecture for which the paint is meant, are the base of the paintings.

In CHARLIE works are juxtaposed with paint layered and stretched on linen, lace, canvas and jersey, to assemblages and objects made of glass - and carbon fibers; gesso and clay, oil - and acrylic paint, carbon -, glass -, aramide -, or Dyneema fabric, crocheted, knitted, weaved and layered.

Relying on the thinner quality of acrylic paint compared to oil, Nara creates each painting by adding and removing pigment until he reaches his desired effect: a canvas made up of suspended hues that allows the figure to emerge through layers of color, inviting the viewer to stand still and enter a moment of contemplation.

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.

Elizabeth Magill has developed a novel technique for her oil paintings, often starting off with a photographic image on the canvas, which she proceeds to work on, applying and scraping away layers of paint, until she achieves the mood in the painting which she is seeking.

These paintings often employed the use of a silver, acrylic background with layers of dark oil pigment on top.

Printing patterns (using Western oil colors) on top of the landscape traditionally used in Asian paintings (using water - based colors) transforms the masculine initial layer, now seen through a feminine veil.

Executed in oil on canvas from a digital image, the paintings incorporate layer upon layer of fine lines of colour to create architectural - like forms, suggestive of a dense, abstracted cityscapes.

Painted in a palette of bright hues to deep blacks, Brown's works are centered on the human figure, built with layers of vibrating oil paint.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of clear independent marks that form a whole.

Art history imparts a heavy weight onto mediums like oil paint, but, like any other material, Hundley then capitalizes on these histories by embracing them and unleashing their potential - by titling some of the paintings Still Life or Composition he embeds yet another layer of historical reference.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of...

Decades - worth of oil paint accumulated on easels, splashed in layers on the floor, left marks all over the walls.

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

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.

On unstretched linen, he layers oil and acrylic paint in thick and uniform quantity, but then strips and sands the surface of the painting to lay bare, in erratic patches, the linen's surface and fibers.

This act of layering — quite physical in its presence — is produced by the artist's application of slender intersecting lines of oil paint that form a scrim on the paintings» surface.

During my training at the California College of Arts and Crafts, I began to create collage drawings that layered disparate images on top of one another; I now use oil paint in a similar way, starting with an abstract background and then adding more photorealistic details, allowing the work to dictate its own construction.

While they often resemble large - scale collage, Kim Fisher's systematically painted canvases are created through a process of layering oil on linen.

He works in series on several canvases at a time, building up layers of oil paint in subtle grids of variegated texture and colour.

Using turpentine in conjunction with oil paints Innes thins and removes layers, revealing underlying colours and leaving the evidence of his process on the canvas.

Using layers of oil or acrylic gel on hard reflective stainless steel, aluminium or Perspex, he fashions comb - like pieces of metal or board to move the paint across the surface in one movement, often repeating it again and again until the perfect balance of paint, translucence and striation is achieved.

Using cardboard sheets which are prepared and mounted on canvas, a brush and a spatula Grotjahn creates layers of oil paints with the end result being almost sculpture alike.

mixed media on paper; unframed full sheet 22 x 30 inches signed lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veil...

mixed media on paper; unframed full sheet size 22 x 30 inches; signed lower right corner Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysteri...

The majority of paintings here are oil on gessoed panel, and it is the gesso layer that allows for the depth of the line cut in with blade or stylus.

Melding East and West, Su Xiaobai draws upon the artistic heritage of his native China and modern and contemporary Western art to produce evocative, abstract paintings, composed of layers of oil paint and lacquer on squares of linen and wood.

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.

The paintings are on wood panels, prepared with a traditional heated gesso, which allows an underpainting of gouache, usually ultramarine blue, to lie beneath an imprimatura layer and interact with the oil paint that covers it to varying degrees.

The paintings are executed in oil on canvas, built up with many layers of luminous color, including red, bright yellow, dark blue, pale gray, brown, white, and black.

mixed media on paper; unframed full sheet size is 22 x 30 inches; signed lower right corner Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create myst...

Dickinson's abstract paintings are layered over an extended period of time through repeated additive and subtractive procedures with oil on a plaster like surface.

Dubuffet kept a log of his technique - laying the stretched canvas on the floor, he covered the entire surface with a thick, sticky layer of oil paint, like icing a cake.

Typically composed of thin layers of acrylic and oil paint on panel board, her paintings employ a broad range of techniques, deftly shifting between stark graphic lines to loose washes and thickly rendered brushstrokes.