Sentences with phrase «made out of canvas»

The thing I really like about these sneakers is the fact they're made out of this canvas material, which is perfect for summer.

Typically, most travel cribs are made out of canvas or nylon material that is durable and breaths well.

Belts tended to be made out of canvas, leather or rubber.

Not exact matches

We might choose an artist to support monetarily or with encouragement and prayer for a month, connect with local artists and find out what their supply needs are (paint, canvas, etc. is expensive), invite an artist to paint live at an event, commission them to make art for your family or one of your church's ministries.

We love making beautiful wall decor, from our humble beginnings in 1995 we set out to create beautiful and affordable wall decor and from there we grew to become one of Australia's premier wholesale canvas print companies.

CHRISTINE STEWART - FITZGERALD: It's usually made out of that more stiff, almost backpack kind of canvas material, right?

For discreet men I'd recommend a simple belt made of black leather and for guys who like to stand out, I'd choose a Monogram canvas belt.

There are five colors to choose from and the bags are made out of durable canvas with faux leather handles.

Think of white as the clean canvas to make colorful and fun clothing in your wardrobe stand out with style!

From Gareth Edwards delivering «Godzilla,» to The Russo Brothers making very respectable work of «Captain America: the Winter Soldier,» to James Gunn knocking «Guardians of the Galaxy» out of the park, to Ava DuVernay moving to a much larger canvas with «Selma,» and Darren Aronofsky tackling the massive «Noah,» it's been such a phenomenon this year that we dedicated two whole features to it in the first half of the year (When Indie Directors Get Big Budgets and Next - Generation Blockbuster Directors).

Instead, the hulls were constructed out of plywood, fiberglass, and resin, and the sails were made from canvas; the lashings were done with synthetic cordage.»

He told him his uncle Ed Alison had gone up to the preacher after the funeral was said and shook his hand, the two of them standing there holding onto their hats and leaning thirty degrees into the wind like vaudeville comics while the canvas flapped and raged about them and the funeral attendants raced over the grounds after the lawnchairs, and he'd leaned into the preacher's face and screamed at him that it was a good thing they'd held the burial that morning because the way it was making up this thing could turn off into a real blow before the day was out.

Just an hour from Manhattan by car or train (the Metro North from Grand Central station follows this route) was the tiny riverside town of Cold Spring, immortalised by 19th Century landscape painters from the Hudson River School, and as picture perfect a pastoral scene as those canvases make out.

As a consequence, I stopped painting on canvas and started to make reliefs out of construction materials.

the interview was very informative and it makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will work out sales special interest groups in other social networks this is just another journey a new color on the canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints of my work all with in a week end among friends I have now professionally digitized my work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all

Since he didn't make studies, the usual practice for such large canvases, Renoir needed to be familiar with the physiognomies of his revelers, and he had to be able to coax many of them to trek out to Chatou to pose for him.

They were eccentric shaped canvases made out of doors and still wall based, but breaking out of the rectangle... Everything about Braque was the antithesis of good painting, which was loose - limbed, open and daring.

That year, Stella also exhibited a series of 30 - year - old sketchings he made in Spain in the early 1960s that disclosed how he worked out ideas about shaped canvases.

The young Brooklyn - based artist presents a new group of paintings made from sheets of plywood that she cuts into organic shapes and covers in canvas, from an ongoing series she's dubbed «cut outs.»

You can make out a shard of glass, a lemon peel, a bit of garbage — but it looks like he's only touched the canvas a few times.

Each of these stretched - out paintings (which are made on separate abutting canvases or, in the case of Chemin de Peinture, a long roll of paper) recapitulates nearly the whole of 20th century painting from Constructivism to Abstract Expressionism, Neo-Dada, Minimalism and Neo-Expressionism, but because of the extreme horizontal format, artist and viewer are constantly treading into unknown territory.

Borne out of Modernist painting as well as «action painting» — a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied — this theme extends to present day, where brushstrokes fade away to innovative mark - making techniques or performance and video.

A fitted bedsheet loosely draped over a large canvas, it turns out, was actually made out of acrylic paint.

Sakaizawa's iterative process makes similar use of the canvas, as layers of paint, applied in dozens of identical gestures, build out beyond a two - dimensional surface.

I have bronzes out in the studio right now that I'm painting and I'll pull a colour that I'm particularly excited about and apply it to a bronze and it's not like, then I staple a bronze to a canvas, but I make drawings of the bronzes, too, so it's like self - cannibalism.

Each work is a vast picture made up of smaller paintings, which the artist cut out and glued to the canvas.

A showcase for her extensive arsenal of techniques and ideas, her ambitious large - scale canvases create patchworks out of different manners of mark - making and toy inventively with questions of frame dynamics and figure / ground illusions, often within a remarkably shallow pictorial space.

Additionally, Meckseper's wall works, made out of store display slatwall panels and printed canvases, highlight appropriated advertisings such as the packaging of male underwear labels 2 (X) ist.

This extra-extra-large pizza, on the other hand, drips with wall power to spare, with pepperoni made from painted canvas and other toppings, like olives and onions, astonishingly created purely out of built - up paint.

Making it was a simple strategy of separating out facts from feelings, choosing «givens»: the canvas for the outer world of facts, and poured paint (added to it in a mixed complex of colour) for the inner emotional world of feelings.

For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the canvas — making it into the subject of the work, but instead of cloth, the «canvas» here is woven out of unified, off - white glass beads.

In his paintings Moffett extends the traditional two - dimensional frame in a number of ways, including converting the ordinariness of the flat plane into highly textured reliefs, making paintings that are opened up and turned inside out, or presenting intricate illuminations through the use of video projections on the canvas.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

Always half showman, half recluse, Byars» announcement for a show in Amsterdam in 1975 invited the public to watch for «flash showings» of his paintings in «quiet places out in the city landscape» — situations consisting not of canvases (of which Byars only ever made one) but of actions where the artist dressed in a golden suit and held up a long gilt pole.

In fact, things become clearer when we find out that the artist made it by having a performance with the canvas, as he danced around it and splashed paint all over its surface as if it was all some kind of a ritual.

Back in New York in 1953, he made paintings out of substances as varied as gold and dirt, returning to paint to work, this time, primarily in red on canvas enriched with fabric swatches, newspaper, and bits of wood.

Bare canvas and pencil lines visible between the stripes insist on the object and its making, and so does the wood of the stretcher, set thick dimension out.

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

«The process of making these is so slow and organic — like creating an aftermath or a debris field where you intuit, and sometimes actually make out, the lives of many generations of humans, alongside nonhuman traces, and objects, all laid down under pressure — which take time to make and are filled with that time, pieces of what might have been a larger canvas of handiworks that reference entire lives, whole communities that are brought into the field of the painting, where the painting itself becomes another community,» described Sacks his painting method in a 2014 interview with Natasha Kurchanova published on Studio International.

Landscapes and Monochromes, a series of collages on canvas by Anna Ostoya, are made out of economic cycles and numbers transformed into abstract images, where information is readable but missing.

Peter Freeman's potential sale (to an unnamed museum) of a remarkable 1966 Marcel Broodthaers canvas was one of only a few institutional purchases I heard tell of, though curators turned out in full force: The Whitney's Adam Weinberg was in early, and was still on his feet at 6PM when Philippe Vergne, the Walker staffer cocurating next year's Whitney Biennial, joined him; Jérôme Sans and Udo Kittelmann made early - afternoon rounds and then disappeared; and the New Museum's Lisa Phillips and Richard Flood («I'm going to C16 — I don't even know what's there.

In the show that first forged his artistic identity in 1991 at the influential Nicola Jacobs Gallery, Stubbs exhibited an extraordinary group of paintings each made of a stack of canvases with thick paint oozing out between them, their uppermost surfaces unambiguously decorated like a cake, with oil applied through icing funnels.

He also references tribal tribal tents that are made from strips of colored canvas that are used «until the color ran out and then they would use another color for the side panel, so you had all these arbitrary things going on, like a white and yellow tent with red and yellow on the side.»

Paris's Matthieu Haberard brings five new pieces — with a dark wood, epoxy, acrylic painting titled «Screen, where the touch, is a real sensation» (2015), a can - and - water sculpture called «Combine painting» (2015), a wood - and - electric cable piece called «Your time is running out» (2015), as well as two sculptural installations made of steel, plexiglas, acrylic on canvas, titled «Marcel; Where the bulbs are?»

In the film Schnabel remarks: «I started to use different kinds of materials because I was looking for some kind of new way to paint... working with things that already exist affords you associations that are beyond your invention... I see opportunities everywhere as paintings, in images that already exist, in surfaces that will repsond to paint a certain way, or it might come from an accident... I realized a picture could be the architecture of a painting... so I would select thigns that already had pictures - images of things impregnated on them - and then I could treat them as a blank canvas... let them inform what I was doing and make me react to what was there and come out with a hybrid painting... it has a much to do with reacting rather than acting.»

He often empties out the middle of a piece and positions non-representational components as if he were a painter making marks on the left or right edges of a canvas.

He has rightly been regarded as a consummately perceptual painter — the interaction of the dots covering his canvases makes the most out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion of space seeming to change, like the surface of a mosaic, as you move from side to front to side.

She has been known in the past to use smoke stains and cow droppings to create her compositions, while she has made more recent paintings by cutting forms out of a stretched canvas with a scalpel, allowing the cutaway pieces to hang off the work.

The kaolin works are generally made from clay covered canvases folded horizontally, or sometimes cut - out squares of canvas coated in the clay and adhered onto the canvas; he created just nine large - scale relief paintings depicting folded cloth.

Rather than approaching painting as image making, these painters were using the act of painting to record the results of personal, intuitive, subconscious dramas they were acting out in front of the canvas.