Sentences with phrase «of turpentine with»

Jelly jars of turpentine with brushes soaking in them on the coffee table.

Not exact matches

I'm thinking of shelving the turpentine and going with something stronger for game 5.

When injected into the oil reservoir, it mixes with the oil and mobilizes more of it — like turpentine cleaning paint — and then allows it to be pumped to the surface.

Jude grew up without much of a male role model, and he spends most of his time huffing turpentine with his buddy Teddy (a great small turn by Avan Jogia, also great in a small part in this year's «I Am Michael»).

It's lively and tuneful, with lots of action because of a range war in the Turpentine Pine Forests of Florida, between, of all things, turpentiners and cattlemen.

War and Turpentine — Inspired by the notebooks and reminiscences of his grandfather, a painter who served in the Belgian Army in World War I, Hertmans writes with an eloquence reminiscent of W.G. Sebald as he explores the places where narrative authority, invention and speculation flow together.

Nestled in a park - like setting, with a turpentine forest backdrop, Ferngrove Estate homestead reflects an atmosphere of tranquility.

Ambiguous features can morph from immense beauty into utter despair, with hints of the eyes breaking the surface beneath layers of paint, charcoal, turpentine, expressive brush strokes and often physical DNA from the artists» fingertips.

It's never poured, I prep a tin in which I mix up a couple of tubes of oil paint with a lot of turpentine, a lot or a little less depending on what I want to do.

The exhibition's title suggests not only the resin material of pine trees mined in the turpentine - making process, but also the myths and fables that take place in the pitch - black hours of the night, and an array of noises heard in the environment that inspires Hamilton, from the sounds of animals to those associated with labor and song.

You can almost smell the struggle inside Lehmann Maupin this month — it's mixed liberally with turpentine, linseed oil, and the scent of fresh paint.

Before Arshile Gorky used paints thinned with turpentine for Abstract Expressionism's most fluid creations, he boasted of his thick surfaces.

With a palette of primary colors, he brushed and pooled turpentine washes across the 74 - by -92-inch canvas.

Like de Kooning's paintings of the period, Baselitz's new works impart a watercolor - like fluidity, achieved through the thinning of oil paints with turpentine and their swift, loose application.

The exhibition's title, Pitch, suggests not only the resin material of pine trees mined in the turpentine - making industry of the area, but also the myths and fables that take place in the pitch - black hours of night and an array of noises heard in the environment that inspires Hamilton, from the sounds of animals to those associated with labor and song.

One canvas is bookended by traceries of dirtied turpentine and delineated with a swift, lilting line.

There are smaller paintings than this, some of theme equally concerned with the process of painting, and with the «deliberately accidental», Callum Innes «s words for the process he adopts of dividing the canvas into two, painting a quarter with a flat colour leaving the other quarter exposed, and then taking the same colour and applying it to the other half of the canvas before «unpainting» it by rubbing it off with turpentine, leaving a ghost of the original colour.

Visitors will encounter references to the literal and metaphoric scars of the pine industry and the turpentine camps (not unlike the slave plantations once located on the same land), along with the music that grew out of this labor and the resilient spirit of the workers.

Combining oil and turpentine washes with water - based casein, Bearden renders a rich surface of earthy color, mottled with crater - like ellipses that are apparently the result of the oil's resistance to water.

«A pair of socks,» as Rauschenberg maintained, «is no less suitable to make a painting with than wood, nails, turpentine, oil and fabric.»

Ms. Steir's use of runny paint — a mixture that is probably nine parts turpentine to one part pigment — helps us link the work with waterfalls or rainstorms or vistas consumed by mist.

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

The «erasures» have been wiped clean with rag - cloth and turpentine, guiding the viewer's gaze toward areas of negation.

Paintings such as these, made with a mixture of oil color, turpentine and wax, looked like the end of something — either a culmination or a cul - de-sac — when they were first shown.

These have become the tools of his trade along with acrylics, oils, the fumes of turpentine, stretched canvases and collage.

A key moment in Frankenthaler's career took place when she began thinning her paints with turpentine so that they would be absorbed into the fabric of the canvas.

The city's first major exhibition of Frankenthaler's work in more than five decades, the exhibition explores her return to gestural improvisation after years spent developing her «soak - stain» technique (soaking her raw canvas with turpentine - thinned paint).

Defacement again came into productive play with Wool's Untitled (2007), spray - painted on linen and rubbed raw with turpentine, and Guston's North (1961 — 2), which used a similar method of scribbles of black paint bleeding into a white ground to produce dense passages of grey.

Callum Innes paints large rectangles in Scheveningen black, then all but washes out the black with turpentine until one sees shades of green and blue.

Most of his paintings are made by «un-painting» as well as painting: A language that he has made his own; oil paint is applied in layers and dissolved away with turpentine, forming something quietly and unexpectedly beautiful.

She applied this to the processes of art - making: Frankenthaler defied rules about painting as well as printmaking, most consequentially when she thinned her paint with turpentine and poured it directly onto raw canvas, in a manner that radically redirected so - called Color Field abstraction.

A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil and fabric.

Rather than using paint thickly and opaquely so that it sits upon the surface of the canvas, Frankenthaler thinned her oil paint with turpentine to the consistency of watercolor.

Using matte pigments mixed with turpentine rather than linseed oil, Avery applied his colours in thin layers with a stiff brush, creating chromatic effects of astounding subtlety, delicacy and invention.

In these works, the artist thinned oil paint with turpentine to the consistency of ink and spontaneously let the work, in his words, «pour out.»

... oil paint mixed with turpentine to, roughly, the consistency of ink, I had a similar «outpouring», though I made less than a hundred works which I call the Drunk with Turpentine series, a title that no matter how evocative, is alsturpentine to, roughly, the consistency of ink, I had a similar «outpouring», though I made less than a hundred works which I call the Drunk with Turpentine series, a title that no matter how evocative, is alsTurpentine series, a title that no matter how evocative, is also literal.

Her technique of using oils diluted with turpentine directly on very large, unprepared canvas, created a field of transparent color.

These pictures were based on a 1979 series of oil - on - paper paintings, Drunk with Turpentine, which Motherwell had generated by the process of automatism.

Using turpentine in conjunction with oil paints Innes thins and removes layers, revealing underlying colours and leaving the evidence of his process on the canvas.

The artist then removes a section of this layer using turpentine to reveal the constituent colours beneath, and the residue of this process stains the canvas with veils of pigment.

A portion of the canvas is then treated with turpentine to reveal the thin, brilliant colours underneath that have the same innate fragility and iridescence as Rothko's.

Brought together and exhibited for the first time since the mid»80s, these romantically melancholy, expressionist oil paintings feature isolated individuals that materialize out of dark, ill - defined backgrounds that Spero laboriously painted, repainted, and wiped down with turpentine - soaked rags.

Using a restricted palette, Yun applied layers of pigment to raw canvas in vertical or horizontal bands interspersed with blank space; working on his studio floor, he diluted the paint with turpentine so that it would gradually bleed into the support.

Callum Innes» paintings have always sought to reveal the spatial possibilities of the picture plane by a process of removing and eroding paint with turpentine.

His paintings are created through a process of addition and subtraction, sometimes removing sections of paint from the canvases surface with turpentine to leave only the faintest traces of what was there before.

In fact, it's downright fun to imagine being one of Katz's female muses, up in his sun - drenched Soho studio, slightly high on turpentine fumes, watching him zealously cut into his paints with his palette knife, as enamored with the process as ever.

His painting is typified by a process of reduction; he erodes a monochrome ground of paint with turpentine to reveal the spatial possibilities of the picture plane.

In other words, there is a wide range of compositional devices that are, on the one hand, very elegiac, with carefully cut - out biomorphic shapes, painted often with high - keyed colors to subordinate the quasi-rectilinearities of, let's say, a found chair, a turpentine container, or flanks of wood, etc..

However, the paintings in the current exhibition are now punctuated by what Ferris calls «erasures» - zones of wet paint that have been wiped with rag - cloth and turpentine, always in straight lines across the canvas vertically or horizontally.

In 1966, Marden developed a technique that emphasized this sensitivity, dipping an oil - covered brush into a mixture of melted beeswax and turpentine, and applying it generously to the support, smoothing it with a spatula to eliminate the brushstrokes while retaining the sense of the handmade.