Sentences with phrase «of paint brushed marks»

Using spray paint on top of paint brushed marks, you can draw a line of references from Pollocks dripped paint (similarly applied from a distance), to modern day graffiti.

Not exact matches

I took my small brush and painted right to the edge of the groove mark.

What kind of a brush is best for this purpose as so to not leave paint streak marks?

I also use the front and the back of the brush — I paint the paintings with the front and then I make marks into them in the back, which I refer to as cross-hatching.

At the same time, the squiggle - like blue line that lays on top of the majority of the painting is reminiscent of digital marks made through computer programs such as the brush tool in Photoshop, a technique that remains prominent in contemporary painting today.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Using the traditional tools of the ink painter — brush, ink and paper — he developed a language of marks and ink application that rejected the conventions of Korean ink painting in favor of stripped down, seemingly haphazard sets of links and blots.

With each layer I add I always become attached to brush marks or different sections so end up leaving parts of the under painting showing through.

The paintings are autonomous objects that contain infinite detail and a sense of history through the build up of brush marks and wiped surfaces.

Each one has been painted with white latex paint, without any trace of brush or roller marks.

Suffice it to say, they're all given their due: Willem de Kooning with a wall full of his extraordinary «women paintings» in which female eyes, teeth and breasts are clearly discernible through blurs of ferocious brush marks.

Organic shapes and tangled marks are executed with a loaded brush, allowing the figures to exist in a field of constant motion despite painting's persistent stillness.

The genesis of the applied technique lies in his interest in Art Informel, where he used the sweeping, swirling path of the brush marks that were clearly visible, opposed to soft blurring that was used in his photo - paintings.

The tension between subject and content, the way the one reveals and conceals the other, is played out in the «Women» paintings (Woman as Landscape, 1965 - 66, pictured); the subject appears to be a woman composed of gestural brush marks, the content is ineffable and elusive.

Such a marked departure from Warhol's usual operating procedures is present in the surface style of the works as well, where the noticeable brush work, laid down before the screening of the image, is deliberately referential to New York School painting, in particular to the style of painters such as Franz Kline and Willem de Kooning, a painter whom Warhol himself has referred to as a model.

The painting is a sophisticatedorchestration of positive and negative space, with the depicted herd appearing as bright negatives, and the groups of trees, their trunks and foliage rendered as a series of scraffito - like marks (perhaps made with the end of a paint brush) to reveal lighter hues beneath the final, glowing earth tones.

Stand as close as possible (with your hands clasped behind you so the gallery guard doesn't start to panic you're going to touch the painting) and spend time studying the paint and brush marks, not the subject of the painting.

The strokes were made with a brush loaded with red or black and painted directly onto a wet ground; we can see the speed of the mark, the downward pull of gravity, and the drips where they meet.

The direction in which the threads are sewn mimic the way brush marks are layered within a painting which, in turn, gives the allusion of depth, volume, and form.

His facility with the brush was honed in an earlier series focusing on Balthus's studio, which translated the evidence of the artist's activity on the floor and walls into marks and splatters on the surface of the painting.

During that same time I had started working on paper, doing something quite different: I was making marks, I was tearing up pieces of paper, I was moving paint from one drawing to the next, I'd use a roller, I'd use a paint brush.

We follow the brush marks to try to trace back the making process, to analyse the sequence of colours and lines, but it is when we move away from this analytic way of looking to one that is more intuitive and start to enjoy the play of light and colour, transparency and opacity that we become conscious of where the power of Frize's painting lies.

Klein used the pigment in many of his best - known works, including monochrome paintings, sculptures, and his Anthropometries, for which he would paint nude female models with IKB, then use the «human brushes» to make marks on paper and canvas, all in front of a live audience.

Namely, the works were usually guided by the construction of pictorial space using expressive brush marks and lush colors, almost always painted on the backs of old picture frames.

Maintaining the consistency of the brushstrokes while varying the amount of paint and pressure applied, Lee keeps «expression to a minimum in order to achieve the maximum» (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3) The almost hypnotic repetition of marks that comprise From Line is created by the artist pressing a brush loaded with blue paint suspended in viscous glue directly onto the surface of the canvas, then repeating the process until there is barely any pigment left on the filaments of the brush.

Paintings from his ground - breaking Anthropometry series will also be on display, for which Klein employed models as «living brushes» to create marks on the canvas in front of an audience, as well as Fire Paintings and Klein's later works in gold.

Rendered in a vibrant palette of forest green and royal blue, overlaid by a dappled pattern of brilliant, sunset orange brush marks, In the Green Room is a stunning, large scale example of Howard Hodgkin's commitment to painting, and its emotive potential.

Usually filled with evenly applied and saturated color, in «Luster» the paintings again diverge from earlier work through visible brush marks that leave an imperfect, textured, and varied surface making evident the process of paint application.

Instead, when Pollock dripped thinned paint from a stick or a brush, moving his wrist and arm fast or slow, wide or contracted, high or low in the air above a canvas, an almost infinitely variable range of linear marks fell to the canvas below.

I do paint directly on the canvas with brushes, rollers and knives, but most of the marks and images are screenprinted.

I imagined, whilst viewing them, floating through a gigantic three - dimensional world of paint and brush marks.

He thinks of them as «collaged» paintings — composed of a series of random brush strokes, marks and drips.

After building up the surfaces with countless layers of acrylic, she began to paint — a meticulous yet imprecise process of mark making, erasure, and loosely rendered brush strokes.

He's great on wet paint, especially in his descriptions of Albert Oehlen's brushwork --» grids of dots, and passages of fluid, slashing brush marks «bundled» like kindling... veils, which are often made from dirty turps and some interesting, jewelescent earth tones, give the paintings the feeling of being seen from inside a sock.»

The string of brush marks in a lace collar in a Velasquez painting could be more radical, he said, than a shark «murkily disintegrating in its tank on the other side of the Thames».

Filled with subtly modulated space, Tobey's paintings are unquestionably pictorial, as are the marks of his brush.

Chamberlain's paintings in this show are composed of a series of random brush strokes, marks and drips.

Reed: Often in new paintings I'm using horizontal brush marks made with the painting on the wall showing the effects of gravity and also working on them flat, on Leo Steinberg's flatbed — no gravity.

The paintings in this show are composed of a series of random brush strokes, marks and drips.

Rather than drawing attention to the process of creating Abstract Expressionist works through impasto paint and visible brush marks, Lichtenstein imitated the effects of mechanical printing through a stencil process, thick black outlining and his striking hand - painted Benday dots.

Driven by the same instinctive approach, the painter Franz Kline developed a much different Action Painting technique, utilizing large house - painting brushes and cheap house paint to make wide, confident marks across the surfaces of hiPainting technique, utilizing large house - painting brushes and cheap house paint to make wide, confident marks across the surfaces of hipainting brushes and cheap house paint to make wide, confident marks across the surfaces of his works.

Saville's virtuoso brush marks and vitreous paint build up on the surface of the canvas to express the physicality of her subject.

Bacon was never fond of his own image, thus the circular, gestural brush marks obscure the relatable details on Bacon's face, exposing an attempt to disguise an inner turmoil that the artist wrestles with and tries to resolve through painting.

Rendered in thinly applied automotive paint on aluminium sheets folded at the edges to form large industrial - looking trays, these impressionistic works, with their visible brush marks and gestural drips have, as the exhibition's title hints, the feel of half - glimpsed stories, the clarity of their message faded through time.

Initially reading as the casual brushstroke of a passing giant, Ferran's painted mark falters and arcs — recording the effort of muscles holding the brush to the vertical surface, exerting pressure, imposing the will of the artist through the materials.

What appear to be linear marks and ripples made by dragging the stick - end of a brush through wet vinyl paint, like an act of vandalism tearing through a pristine surface, is in fact a tour de force of illusionistic paint - handling.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

In 1965 and 1966, he painted a series of big canvases marked with one, two, or three enormous gestural brush strokes, in which every drip and splatter appeared to have been carefully rendered with the precision of a machine.

Hernández works methodically, using brushes or applying paint directly from the tube, rendering animated lines and marks before washing and scraping the surfaces of his works — in effect creating compositions that appear at once ordered and explosive.