Sentences with phrase «letting paint drip»

As Hans Namuth's dramatic series of photographs and the film of Pollock at work demonstrated, he painted by standing over a canvas and letting paint drip on it from above until he had achieved the rhythmic movements, varied densities and textures desired.

This abstract painting was created by pouring paint into puddles on the canvas and letting the paint drip down.

She paints with a stick from which she let the paint drip onto the canvas.

She defined that process as the drama touched off when an artist puts his or her brush to canvas, or when, like Jackson Pollock, he hurls or lets the paint drip or splatter down onto the canvas from an outstretched arm.

The painter would sometimes let the paint drip onto the canvas, while rhythmically dancing, or even standing in the canvas, sometimes letting the paint fall according to the subconscious mind, thus letting the unconscious part of the psyche assert and express itself.

Notice, how he lets the paint drip!

Not exact matches

Make sure you keep your coats of paint thin and don't let it drip.

In Gorky's most effective and accomplished paintings between the years 1941 and 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

In Gorky's most effective and accomplished paintings between the years 1941 — 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines.

Elegant creatures can - can past bodies painted black and left for dead, while the artist herself drips over the corpses in a gesture between blood letting and Abstract Expressionism.

Having a workspace of his own, Pollock was able to lie out raw sheets of canvas and had the chance to let his abstract paint - dripping technique take flight.

Load your brush with lots of dripping color and let it run down the surface of your painting as you apply it to the «right» place.

Where previously he had sought to tap his unconscious self by painting images of it — mythic creatures, fantasies, and so on — the «drip» technique allowed him simply to «let go,» to release spontaneously the psychic and bodily energies that surrealist theory had encouraged the artist to explore during the creative act.

This revelation prompted the extensive «Waterfall» series of large - scale paintings, which she made by hurling washes of black and white paint onto the top portion of the canvas and letting them drip to the bottom to create the illusion of waterfalls.

She makes big, blowsy shapes with thinned paint and loose brushwork, with seemingly no attempt to do anything about the resulting drips except to let them have a life of their own.

Turpentine is dripped to let paint run where it will, so that the resulting image appears as a strong, luminous core with a frail, random edge.

«Although de Kooning and Pollock made use of chance effects,» notes Calvin Tomkins in his book Off the Wall, «letting the paint run and drip in their spontaneous encounters with the canvas, they were not about to hand over the whole process to accident.»

Dropping pieces of cut paper onto a surface and gluing them down where they lay; dripping or flinging paint across a canvas; letting the progressive decay of organic materials determine a composition; and flipping coins to compose a musical scores — these are some of the processes used by artists included in the volume that both tap into the creative potential of chance and control its operation.

Commonly cited examples, which are repeated in the catalog, include, among others, Lynda Benglis» pouring of pigmented latex directly on a floor, on which it hardened; Richard Serra's works in which he cast molten lead into the corner where floor met wall (one of which has been reproduced at SFMOMA); Robert Smithson's pouring of viscous asphalt down a hillside outside Rome; and Eva Hesse's «Rope Piece,» in which lengths of rope were let to hang loosely in a space in three - dimensional mimicry of the skeins of pigment in Pollock's drip paintings.

Saccoccio's work first caught my eye in a 2013 group exhibition called Let's Get Physical, curated by the painter Rick Briggs at Ventana 244 in Williamsburg, Brooklyn, where she showed a grid of four paintings in gouache and ink on yupo paper, dominated by drips and spatters and networks of bleeding color.

By using both a squeegee and a brush (rather than one or the other), and working on a stretched painting that was placed on a table, Heilmann chose to let the paint that dripped over the sides remain as part of the work.

I let it sit upside down long enough to let any excess paint to drip out and then I started on my fronts of my vase.

You know you can let the paint sit in the rim or else you will never get it closed, so you run your finger around the rim, causing more paint to drip down the can.

I followed a crazy simple tutorial I found from Sugar and Charm, & poured paint into cheapo vases & let it drip out.