Sentences with phrase «of pencil grid»

Echoing the compositional elements of vertical and horizontal lines that were characteristic of Martin's work, the Dear Agnes series is comprised of hundreds of pencil grid drawings in seemingly endless permutations.

Martin is most often associated with Minimalism, because of her use of pencil grids and spare bands of muted color, but she spoke rapturously of the natural landscape and the emotive and expressive power of art in a very un-Minimalist way.

Agnes Martin's now familiar paintings of pencil grids and subtle bands of color are the culmination of a personal search for artistic identity that led her from traditional still lifes and portraits to landscape paintings of the New Mexican desert through variations on Abstract Expressionism.

Not exact matches

With a pencil, draw a grid of 1 3/4 - in.

Create online or paper and pencil assessments using multiple methods (multiple choice, rubric, constructed response, student answer, gridded response (SAT type) and essay) to identify student achievement, growth, and depth of knowledge.

In the paper - and - pencil version, you'd have to draw your own grid to keep track of all your deductions, but Amazon's made this game much simpler to play by creating their own detailed interface.

Beneath the hues, one can spot a grid drawn in pencil, a hallmark feature of this artist's works since the early 1990s, when he used this device to transfer images from photographs.

The lines and dots became large penciled grids, exactingly and laboriously handcrafted, overlaid with dabs of paint or gold leaf.

The New York - based artist Isca Greenfield - Sanders transforms old slides by scanning and gridding them, and then applying multiple layers of watercolor, colored pencil, or oil paint.

This selection of paintings from the 1970s shows a range of Minimalist - inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921 - 2009), a Day - Glo round - edged canvas by Ralph Humphrey (1932 - 1990), atmospheric grid - based oil paintings by Warren Rohrer (1927 - 1995), subtly - lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928 - 2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.

Lewis, the youngest artist in the exhibition, also divides his compositions but with a strong line, using pencil and graphite powder to create sooty surfaces reminiscent of the grit of the city, while maintaining a connection to the modernist grid.

Influenced by the loose washes of traditional Chinese brush painting, Zhang dilutes his paint until it is almost like a glaze, leaving pencil - drawn grids visible beneath the layers of paint.

Up close, one can see a pencil grid, evidence of the artist's thought process in what looks most disordered and spontaneous.

I had always considered her classic, proto - Minimalist pictures from the Sixties — characterised by subtle, ghostly colours and the use of minute elements repeated within a grid often drawn onto a square canvas with a pencil — as ascetic and restrained: the epitome of cerebral self - control.

Kettle's Yard is showing 10 canvases from her last years (she died in 2004 aged 92) alongside one well - known painting of 1965, the Tate's «Morning», and a suite of 30 screenprints titled «On A Clear Day» — all of which represent grids whose original ruled pencil lines are reproduced with illusive accuracy.

Not to be outdone, MoMA has recently included her in a group exhibition about female artists and postwar abstraction, and her gallery, David Zwirner, has published a handsome facsimile edition of a late - period Notebook, eighty - odd pages of neatly penciled triangles and grids on green - tinted graph paper.

LeWitt is best known for his large - scale «Wall Drawings,» rigorous arrays of designs, shapes, grids, and colors rendered in pencil and paint in coherence with strict instructions and diagrams to be followed in executing the work.

She builds up layers of acrylic paint and narrative content, such as map grids and abstracted images of war, which she then overlays with mark making using pencil, pen, ink, and more paint.

The dense grid in the 6ft square «Morning» has the effect of a sheet of graph paper, with the paint used as an overall wash to fog but not conceal the close pencil lines.

Her development of a grid in the late 1950s wherein she gently inscribed penciled lines over subtle fields of color marked a turning point in the history of abstract painting and established the geometric and spatial language that she continued to refine over the ensuing decades.

One of the preeminent painters of the twentieth century, Martin created subtle and evocative paintings composed of grids and stripes and frequently inscribed with penciled lines.

About lines and strokes, about painting paint strokes, telling a story, using the grid, moving from figure and landscape space, making the work narrative, isolating strokes, thinking about the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, paint.

Through a series of hand - drawn pencil lines, filled in with delicate layers of color, like Mondrian, she successfully clustered together the most basic and crucial possibilities for the grid as juncture between the sacred and the secular, flattening this polarity (and antagonism) and creating a new way to contain both in harmonious balance.

Between 1972 and 1979, the all - important pencil grid in Barré's work is almost always laid out at a diagonal, while the paintings themselves are never tilted, emphasizing the fact that his grid, in contrast to Stella's, is never limited by the format of the stretcher.

Chuck close's grids, Gabriel Orozco's checkered patterns, the frame itself, or the smooth white walls of a gallery space all strive to achieve the same end as a pencil guided along a straight edge - respite from the expressive responsibility of mark - making, submission to something sure, inert, and objective.

A second part of the show occupies the entire southeast wall of the gallery consisting of a pencil - line grid divided into eleven sets of 20 squares each and contains the fingerprints of eleven sets of twins in the Chicagoland area.

Throughout the 1950s and «60s, she developed a signature grid - pattern method consisting of horizontal and vertical lines hand drawn in pencil on large square canvases that, at first glance, seem to appear blank.

For instance, her early mimetically painted images of flowers and birds, framed by penciled grids, paint swatches, and tonal scales, struck me as an incisively beautiful study of the contradiction between image making and the physical reality of paint.

Installation view at Non Objectif Sud, France, 2009 Brent: A drawing dated 1978, Untitled, chalk on paper, has a pair of identical penciled or conté grids which you use to make a series of what appear to be perfect arcs; there are finger marks or smudges; some arcs are taken out.

Her paintings of the 1960s, which feature square formats, grids, penciled lines drawn on canvas, as well as compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

One of the preeminent painters of the twentieth century, Martin created subtle and evocative paintings composed of grids and stripes and frequently inscribed with penciled lines, according to the Guggenheim.

The main design was drawn over the paint in black pencil, probably with the aid of a ruler; sections of the resulting grid were filled in with strong colours - red, black, blue, grey - and a pale grey was washed over some areas.

«I create grid - like formations and abstract compositions with faint pencil and tape lines or thousands of small hand - cut pieces of transparent tape, inspired by the rhythms of architecture and weaving.

Agnes Martin is primarily known for her minimalist grid paintings that turn hand - drawn pencil lines and thin washes of paint into luminous moments of transcendence.

(There are a few of Albers's preparatory studies in the show; drawn with gray pencil on tan paper covered with a salmon - pink grid, they're arguably more beautiful than the finished glass works.)

By this time, Martin's representational works, including surrealistic oils as well as landscape and figurative watercolours, had been superceded by her new and highly simplified abstract pictures marked by square canvas formats hosting all - over grids of pencil lines and monochromatic colour schemes.

In the early 1970s Barré returned to using brushes, embedding each composition in layers of transparent washes with subtle colors traversed by a penciled grid, often laid out on a diagonal, implying a much larger, potentially infinite composition.

Martin created subtle and evocative paintings composed of grids and stripes and frequently inscribed with penciled lines.

Her paintings of the 1960s, which are distinguished by square formats, grids, penciled lines drawn on canvas, and compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

These works relied on the repeated gesture of a paint - laden brush applied over a grid penciled on the canvas.

Although made with materials traditionally used in design and drawing — the hand - drawn pencil grid remains visible in the final image — these works are clearly paintings intended to test the boundaries of the medium.

Her development of a grid in the late 1950s wherein she gently inscribed penciled lines over subtle fields of color marked a turning point in the history of abstract painting and established the geometric and spati

By the time she painted The Tree in 1964 — the painting that Martin calls her first grid, the lines and dots of these earlier paintings had became large pencilled lattices, stringently and arduously worked.

A light pencil grid orients the delicate balance of straight and curved lines.

«I set up the boards ahead of time with these pencil grids.

In Berthot's case, he uses underpainting and glazing to build his surfaces, as well as an isometric - orthographic grid (visible in many of his exquisite pencil drawings), in order to locate the tonality, mark, or line.