Sentences with phrase «of oil paint on canvas»

The early works prepare the way for such important paintings as Hemlock (1956), Ladybug (1957), and George Went Swimming at Barnes Hole, But It Got Too Cold (1957), large - scale works that signal Mitchell's energetic yet controlled mastery of oil paint on canvas.

A master of gouache, and a veteran of oil paint on canvas, he will be represented by both media.

While the content is filled with personal memory, it is also fueled with humor, reverie, whimsy, and the colorful use of oil paint on canvas mixed with paper and meticulous embroidery work.

A new animated feature chronicling the life and career of Vincent Van Gogh seeks to emulate its subject's style by being comprised solely of oil paintings on canvas, making it the world's first fully painted production.

Through the classic technique of oil painting on canvas, his idea is to introduce a humanistic and poetic dimension into the highly technological hospital environmen...

A series of oil paintings on canvas created in 2009 by Japanese artist Yasuyo Fujibe.

Her works, which consist mainly of oil paintings on canvas, revolve around the merging of private and public spaces.

Humans, harvests, and lands are among those celebrated in the exhibition, as a collection of oil paintings on canvas.

In her series of oil paintings on canvas the artist implicitly reworks the notion of money in China, by amplifying and embellishing details gleaned from Chinese Renminbi notes.

Not exact matches

The Pechanga Collection By Todd White includes 11 original, vibrant oil - on - canvas paintings by the internationally recognized creator of the official 49th Annual GRAMMY Awards artwork.

Yet I changed my tools from brushes, oil paints, and canvas to pencil, paper, and computing power for years and finished physics with a diploma on the topic of many - particle theory, under the supervision of Prof. Nolting at the Humboldt University in Berlin.

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.

Unsurprisingly I guess, oil - paint on canvas (canvas textured boards, we couldn't have bounce of actual canvas on frame) gave us results closest to Vincent's paintings.

It is based upon Giuseppe Arcimboldo's Summer, a portrait composed of fruits and vegetables painted with oil on canvas.

The first thing you are likely to hear about Loving Vincent is that each one of its more than 65,000 individual frames is an actual oil painting on canvas by one of some 115 artists.

Co-directors Dorota Kobiela and Hugh Welchman have put together a movie that is the first ever to be assembled entirely via oil paintings on canvas, with each frame of the animated feature brought to life by the efforts of 125 artists.

The first feature to animate oil paintings on canvas, it brings to life Vincent van Gogh's paintings of provincial France.

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.

Hues of pink, red and cream dance along the sandstone walls like oil paints smeared on a piece of canvas.

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.

Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board.

Using oil and acrylic on canvas, none of his fine art is titled - but you can see he simply prefers to paint haunting portraits of unknown subjects... people we might never know or understand.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

A nonprofit wants to purchase the digital images of 55 of my oil - on - canvas paintings from a recent solo exhibit, to be used for educational purposes and for printed materials.

Leland Bell, Croquet Party, 1965, oil on canvas, 42 x 60 inches (Collection of the Center for Figurative Painting, New York)

Ryan Cobourn, Daphne / Things Will Never Be The Same, oil on canvas, 60 x 46 inches, 2014 (courtesy of The Painting Center)

At this year's West Coast Art & Frame Expo, renowned custom - framing company Larson - Juhl launched Brushstrokes — a technology that captures the essence of artists» originals and recreates oil - on - canvas and acrylic paintings in 3 - D.

Animals have become unlikely companions — wild Horses painted deftly with tonal accents or ducks rendered in pastel colors — with an enigmatic sense of drama, we experience the great theatre played out in oil on canvas.

Kehinde Wiley Portrait of Nick Cave, Nadezhda Polovtseva, 2017 oil on canvas painting: 120 5/16 x 81 3/4 inches (305.6 x 207.6 cm) framed: 131 5/16 x 92 3/4 x 4 1/2 inches (333.5 x 235.6 x 11.4 cm) KW - PA -17-010

Inscribed «Alberto Giacometti 1965» b.r. Oil on canvas, 51 1/4 x 32 (130 x 81) Purchased from the artist (Grant - in - Aid) with the aid of the Friends of the Tate Gallery 1965 Exh: Alberto Giacometti: Sculpture Paintings Drawings 1913 - 65, Tate Gallery, July - August 1965 (155); Giacometti - Udstillingen, Louisiana Museum, Humlebaek, September - October 1965 (144) Repr: The Friends of the Tate Gallery: Annual Report 1st May 1965 - 30th April 1966 (London 1966), p. 25; Reinhold Hohl, Alberto Giacometti: Sculpture Painting Drawing (London 1972), p. 168

Within a few years the materiality of oil paint takes on a more central role in his work when he begins to make paintings by depositing small amounts of liquid paint onto his canvases and tilting them this way and that to direct the paint toward the edges of some feint pencil markings.

Featured among the large works in oil on canvas are the ravishing diptych «Heel, Sit, Stay» (1977) and the turbulent «La Grande Vallée XVI Pour Iva» (1983), painted in high contrasts of indigo, violet, lemon and lime.

Callum Innes Exposed Painting Oriental Blue, 2017 oil on canvas 70 7/8 x 68 7/8 inches (180 x 175 cm) signed and dated by the artist, verso with accompanying signed certificate of authenticity CI - 75.17

One of the first paintings to hit you is the portrait of Alice's son Richard (Richard Age 5, Oil on Canvas, 1946) and it is a striking image.

Seascape — Isle of Shoals, 1902, oil on canvas, 29-1/8 x 37-1/2 inches, framed by Gill & Lagodich for the High Museum of Art, Atlanta; c. 1900 Stanford White - style American painting frame, gilded carved wood, attributed to Milch Galleries, New York frame makers.

«Diana at the Bath», 1922, oil on canvas, 98-1/2» x 69-3/8» Custom - made variation of c. 1930s American Modernist painting frame, wide reverse wave profile, water gilded and patinated palladium leaf on wood.

In the 1980s, DeFeo returned to oil paint, while still continuing to mix and assemble materials in her work, creating large, glowing canvases and an expansive scope of works on paper.

ACQUISITION In early January, the Brooklyn Museum announces the acquisition of its first Beauford Delaney painting, «Untitled (Fang, Crow, and Fruit),» a 1945 oil on canvas still life (shown above), purchased from Michael Rosenfeld Gallery with money from the museum's African American Purchase Fund.

Inscribed «Alberto Giacometti 1965» b.r. Oil on canvas, 51 x 31 3/4 (130 x 80.5) Purchased from the artist (Grant - in - Aid) with the aid of the Friends of the Tate Gallery 1965 Exh: Alberto Giacometti: Sculpture Paintings Drawings 1913 - 65, Tate Gallery, July - August 1965 (153); Giacometti - Udstillingen, Louisiana Museum, Humlebaek, September - October 1965 (142) Lit: Reinhold Hohl, Alberto Giacometti: Sculpture Painting Drawing (London 1972), pp. 185, 282 - 4 Repr: The Friends of the Tate Gallery: Annual Report 1st May 1965 - 30th April 1966 (London 1966), p. 24; The Tate Gallery (London 1969), p. 161

This 1990 oil on canvas is also an acknowledgement of the importance and significance of traditional painting.

Cueva de El Castillo, Puente Viesgo, Spain Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Corridor of Disks, photo: Pedro Saura Hologram, Museo Nacional de Altamira, Santillana del Mar, Spain, photo: Estudio Nómada Inside Conellante, Matienzo, Spain, 2010, photo: Randee Silv El Pendo, entrance, 2010, photo: Randee Silv Pech Merle, Cabrerets, France, photo: Steve Errede, Dept. of Physics, University of Illinois Airbrushing, photo: Don Hitchcock, Don's Maps Finger Flutings, Grotte de Rouffignac, France, photo: Kevin Sharpe & Leslie Van Gelder Untitled, Alice Rahon, 1945, watercolor, 10 x 8», photo: Creighton - Davis GallerY L'Enclume, Wolfgang Paalen, 1952, oil & fumage, 53 x 74», photo: Artsy.net Message, No. 8, Mathias Goeritz, 1959, gold paint, perforated steel, pushpins on board, photo: Arevalo Gallery Conference Poster 1950, Willi Baumeister, Centro de Arte Riena Sofia, Madrid, photo: Randee Silv Altamira, Joan Miró, 1958, lithograph, photo: Quittenbaum Auction House, Munich Joan Miró & Josep Llorens Artigas, Altamira, 1957, photo: Fundación Botín, Santander, Spain Patterns of Aranjuez, 1955, N. H. Stubbing, oil on canvas, 78 x 69 ″, photo: England & Co, London Cave of Black, Herman Cherry, 1954, enamel / coffee grinds on canvas, 61 x49 ″, David Findlay Gallery, photo: Randee Silv Untitled, Denny Winters, 1982, photo: Gamage Auction House, Rockland, Maine Before the Caves, Helen Frankenthaler, 1958, oil on unprimed canvas, 102 x 104 ″, photo: Berkeley Art Museum The Homely Protestant, Robert Motherwell, 1946, oil on masonite, 98 X 48 ″, photo: Metropolitian Museum Cave Study (Perigord Region), Elaine de Kooning 1983, segment, photo: Artvalue.com Lascaux Cave, France, closeup of Megalaceros section, photo: Wikimedia commons Untitled 1963, David Smith, spray enamel on paper, 14 x 19 ″, photo: David Smith Estate Chauvet Cave, Vallon - Pont - d'Arc, France, photo: Dr. Jean Clottes Exhibition poster, Miguel Barceló, Institut Valencià d'Art Modern, 1995 photo: Michel Fillon Gallery, Paris Stages of Trance, photo: David Lewis - Williams, Inside the Neolithic Mind Pareidolia, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv Blackness, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv

This quality is not only apparent in the way vibrant swaths of oil paint harmonize with each other on the canvas; it also comes through in the way her career has quietly percolated along through the decades since, without drama or self - promotion, with no clearly delineated sty listic phases or periods.

«No Love Lost» was the first UK exhibition of Hirst's series of oil on canvas works collectively entitled the «Blue Paintings».

Joanne Greenbaum's ceramic sculpture, front, and Lydia Dona's «Cities of Doubt,» 2012, 60 x 66 inches, using oil, acrylic, metallic and sign paint on canvas.

Prominent among them is Pearlstein's Roman Ruin (1961), an oil - on - canvas close - up of a ruin, painted in a pastel palette that gives the work a dream - like quality.

Aeroplane, 1928, oil on canvas, 44» x 38», framed by Gill & Lagodich in a custom - made replica of ac.1930s - 40s American Modernist painting frame; wide reverse wave profile, water gilded in palladium leaf with light burnt sienna patina.

Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952.

Caroline Artist: Alberto Giacometti 1901 - 1966 Date: 1965 Classification: painting Medium: Oil paint on canvas Dimensions: support: 1295 x 806 mm Purchased with assistance from the Friends of the Tate Gallery 1965 © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2018

Charles Ethan Porter, Chrysanthemums, ca. 1881, oil on canvas, 10 x 16», framed by Gill & Lagodich in a custom - made variation of an 1880 - 90s American painting frame; gilded applied ornament on wood, Japonesque chrysanthemum pattern frieze; molding width: 4-1/2».

Mt. Kathadin (Maine), Autumn, No. 2, oil on canvas, 30-1/4» x 40-1/4» PERIOD FRAME c. 1930 American Modernist frame, House of Heydenryk, New York makers, hand carved, paint - finished wood.