Sentences with phrase «layers of the oil paint which»

Consisting of a number of panels, his abstract paintings are made of thick layers of the oil paint which create textured surfaces.

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.

Among standard equipment: electronic ride control; cast - aluminum wheels; two - tone paint; AM - FM stereo radio and cassette player with touch controls and graphic equalizer; tinted glass; laminated safety windshield with a soft inner layer of plastic; electronic instruments including digital speedometer, 7,000 - rpm bar - graph tachometer, voltmeter, oil pressure and engine - temperature gauges; «function monitor,» which checks the status of vital fluids and external lamps; air conditioner; power windows and door locks; cruise control; leather - wrapped tilt steering wheel.

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.

The Brooklyn show includes Whitten's Birmingham 1964, in which a newspaper photograph of a confrontation in Birmingham is partially revealed under layers of stocking mesh and black oil paint, like a wound that can't be covered over.

Her paintings, for which spends months accruing layers of oil paint, feature detailed brushstrokes and careful scraping in the creation of multiple perspectives and planes that investigate the materiality of painting.

He said, «I don't understand» — because what I was doing was I would make a painting and then I would let it dry and then paint over the whole thing; I wouldn't sand it down, therefore you would see all of these passages and the layers of gesso over oil paint, which, God knows what would happen now.

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.

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.

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 Purple (1961), Goode positions a milk bottle in front of a domineering monochrome canvas, both of which have been applied with layers of purple oil paint.

Martinez is known for his large - scale, energetic canvases in which densely built - up layers of oil and enamel paint are punctuated by elements of collage.

The artist drips and meticulously builds layers of thick oil paint in her modestly scaled works, the largest of which measure three feet square and the smallest seven inches square.

This body of work can be grouped into two categories: watercolors with web - like black lines interwoven over masses of color suggesting successive layers of depth, and oil paintings of extremely heavy consistency in which controlled randomness allows for the appearance of an unconscious, interior landscape or what the French surrealist artists called an «inscape.»

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.

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

Each work emerges organically within a group over several months from a process of oil paint layering and experimentation, during which the canvases undergo dramatic colour development.

The painting's surface, which features dense layers of enamel, alkyd, oil paint, twine, sand, and pebbles, had been dulled by dirt and grime that had accumulated over the years.

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.

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.

Most paintings are underscored by a layer of graphite upon which she applies oil paint, which make them radiate a strange light through which the image gets a sort of frozen light quality, in a nearly monumental way... they balance between the fictional, the illusion and the reality of the day dream.

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.

His backgrounds are layers of black pigment, rabbit skin glue and slate dust, which he sanded down before building up the text in black oil paint.

SC: In essence, the passage of time is visually presented within your paintings through the irregular growth of the algae, which appears gradually by the intermittent layering of oil paint.

The Black Paintings were Hedrick's protest against the Vietnam War in which he took about 50 of his early canvases and painted them in heavy layers of black oil 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.