Sentences with phrase «oil on canvas through»

From oil on canvas through to neon works, a variety of pieces will be on display.

Expect to see everything from oil on canvas through to neon / light sculpture.

Not exact matches

John has worked extensively in oil on canvas as well as watercolour and collage, harnessing what he calls «the forces of rhythm, structure and colour» through improvisation «to make images of power and poetry».

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.

Oil on canvas, 61 1/4 x 92 1/2 (155.5 x 235) Purchased from the artist through the Marlborough New London Gallery (Knapping Fund) 1966 Exh: Piero Dorazio, Marlborough New London Gallery, London, January 1966 (35) as «Molto a Punta» Lit: Marisa Volpi Orlandini, Jacques Lassaigne and Giorgio Crisafi, Dorazio (Venice 1977), No. 801, p. 205 repr.

This movement toward a more overall organization of the picture plane reaches a crescendo of sorts in Central Park Trees (oil on canvas, 2015), in which the sky appears only as flashes of light through the trees while the entire surface is otherwise occupied by a lush green glade.

The diptych of two oil on canvas paintings was purchased through a gift from Jacksonville Women's Leadership and Museum acquisition funds.

Through his investigational approach, Otero combines the traditional act of painting with his innovative creation of «oil skins,» produced by layering oil paint on glass and then peeling it off in «sheets» before transferring it to canvas.

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...

Through a process of applying many translucent layers of oil paint onto canvases lying on the floor random expressionistic color fields are created sometimes with broken geometric structures floating on the surface.

The sweeping 1972 installation Fixed / Variable will be on view here, anchoring the history of her method and foregrounding the unprecedented display of Moth, which references the gridded tiles through oil on canvas, but warps them to vertiginous effects of spatial depth.

Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

, Personal Values, 1952, oil on canvas, 80 x 100 cm, San Francisco Museum of Modern Art, purchased through a gift of Phyllis Wattis, photo © SFMOMA (98.562) by Ben Blackwell.

Matt Kleberg's «Catacomb Catapult (for Eddie)» is one of four recent oil stick on canvas paintings in his show «Caterwauler» at Hiram Butler Gallery through Aug. 27.

Each group in the exhibition achieves this through their own distinct technique: the Abstract Classicists of Los Angeles worked in oil; the Washington Color School stained acrylic into their unprimed canvases; and the New York Op artists built up their acrylic on primed canvases.

Developing their careers in the 1960s rather than the 1950s, the New York artists used new water - based acrylic paint on primed canvas to achieve an oil - like richness of color along with crisp lines through acrylic's plastic quality.

Byron Burford Jackson, MS 1920 — Iowa City, IA 2011 Homage to Clyde Oil on canvas, 1966 60 x 60 inches University of Nebraska — Lincoln, bequest of Mary Riepma Ross through the University of Nebraska Foundation, U - 6329.2013

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 stylistic phases or periods.

Relying on the thinner quality of acrylic paint compared to oil, Nara creates each painting by adding and removing pigment until he reaches his desired effect: a canvas made up of suspended hues that allows the figure to emerge through layers of color, inviting the viewer to stand still and enter a moment of contemplation.

Richard Diebenkorn, Woman on a Porch, 1958; oil on canvas; New Orleans Museum of Art, museum purchase through the National Endowment for the Arts Matching Grant; © the Richard Diebenkorn Foundation

Also of interest in the exhibition are Fairfield Porter's View Through Window from Interior (ink on paper, circa 1965), Adrian Nivola's delicate wire sculptures Arunian Harp (wood wire paint and mixed media, 2015) and Deco Pochette # 4 (wood, wire and paint, 2015), and Bryan Hunt's Deep Field with Quarry (oil, acrylic, charcoal, and photograph on canvas, 2015).

Jettisoning the so - called abstract paintings she had been producing up to that point — large and literal territories of soiled oil paint peppered with holes punched through the canvas — Pensato took on bucketloads of black - and - white enamel and doubled down on her canvases.

Image: Robert Rauschenberg, White Painting (Three Panel), 1951; oil on canvas; Collection SFMOMA, Purchase through a gift of Phyllis Wattis; © Estate of Robert Rauschenberg / Licensed by VAGA, New York

Oil on canvas, 57.2 × 72.1 cm Museum purchase made possible by the American Art Forum, and through the Catherine Walden Myer and Luisita L. and Franz H. Denghausen endowments

Lot 44, «O Through 9,» is an excellent oil on canvas, 54 by 41 1/2 inches by Jasper Johns that was executed in 1961.

Iva Gueorguieva, Land Through Shoulders, 2012, acrylic, collage and oil stick on canvas, 77 x 105 inches (courtesy Susanne Vielmetter Los Angeles Projects)

With a contemporary approach to painting, his famous methodology of deconstruction and reconstruction, through the peeling, disfiguring and re-layering of oil on canvas forms images of otherwise hidden expression.

The Awakening Conscience Artist: William Holman Hunt 1827 - 1910 Date: 1853 Classification: painting Medium: Oil paint on canvas Dimensions: support: 762 x 559 mm Presented by Sir Colin and Lady Anderson through the Friends of the Tate Gallery 1976

The New Jeff Koons 1980 duratran, fluorescent lightbox 42 x 32 x 8 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT New Hoover Celebrity IV, New Hoover Convertible, New Shelton Wet / Dry 5 - Gallon, New Shelton Wet / Dry 10 - Gallon Doubledecker Four vacuum cleaners, 1985 plexiglas, fluorescent lights 99 x 53 1⁄2 x 28 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Aqualung 1985 bronze Edition 1 of 3 27 x 17 1⁄2 x 17 1⁄2 inches Private collection One Ball Total Equilibrium Tank (Spalding Dr. J Silver Series) 1985 glass, steel, sodium chloride reagent, distilled water, basketball Edition 1 of 2 64 3⁄4 x 30 3⁄4 x 13 1⁄4 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Three Balls 50/50 Tank (Wilson Aggressor, Wilson Supershot, Dr. J Silver Series) 1985 glass, steel, distilled water, three basketballs Edition 2 of 2 60 1⁄2 x 48 3⁄4 x 13 1⁄4 inches Private collection Jim Beam - J.B. Turner Train 1986 stainless steel, bourbon Artist's Proof 11 x 114 x 6 1⁄2 inches Stefan T. Edlis collection I Assume You Drink Martell 1986 oil inks on canvas Edition 1 of 2 45 x 60 inches Private collection Italian Woman 1986 stainless steel Edition 1 of 3 30 x 18 x 11 inches Courtesy Leo Castelli Gallery Rabbit 1986 stainless steel Edition 3 of 3 41 x 19 x 12 inches Sonnabend collection Buster Keaton 1988 polychromed wood Edition 2 of 3 65 3⁄4 x 50 x 26 1⁄2 inches C&M Arts Michael Jackson and Bubbles 1988 porcelain / ceramic blend Edition 2 of 3 42 x 70 1⁄2 x 32 1⁄2 inches San Francisco Museum of Modern Art, purchased through the Marian and Bernard Messenger Fund and restricted funds Pink Panther 1988 porcelain Edition 3 of 3 41 x 20 1⁄2 x 19 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT St. John the Baptist 1988 porcelain Edition 3 of 3 56 1⁄2 x 30 x 24 1⁄2 inches Courtesy Sonnabend Gallery Ushering in Banality 1988 polychromed wood Edition 2 of 3 38 x 62 x 30 inches Private collection Vase of Flowers 1988 mirror 72 1⁄2 x 53 x 1 inches Collection of Michael Crichton, courtesy of Christie's Wild Boy and Puppy 1988 porcelain Edition 1 of 3 38 x 39 1⁄2 x 23 1⁄2 inches C&M Arts Winter Bears 1988 polychromed wood Edition 2 of 3 48 x 44 x 15 1⁄2 inches Anthony d'Offay, London Woman in Tub 1988 porcelain Edition 3 of 3 23 3⁄4 x 36 x 27 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bourgeois Bust - Jeff and Ilona 1991 marble Artist's Proof 44 1⁄2 x 28 x 21 inches Anthony d'Offay, London Dirty - Jeff on Top 1991 oil inks silkscreened on canvas 60 x 90 inches Collection of Rachel and Jean - Pierre Lehmann Wall Relief with Bird 1991 polychromed wood Edition 2 of 3 72 x 50 x 27 inches C&M Arts Balloon Dog (Orange) 1994 - 2000 high chromium stainless steel, mirror - polished finish with transparent color coating 120 x 144 x 45 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bread with Egg 1995 - 1997 oil on canvas 128 x 108 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Play - Doh 1995 - 2004 oil on canvas 131 5⁄16 x 111 1⁄16 inches Private collection Auto 2001 oil on canvas 102 x 138 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Lobster 2003 polychromed aluminum, steel, vinyl Edition 1 of 3 57 7⁄8 x 17 1⁄8 x 37 inches (plus variable length chain) Private collection, courtesy Thea Westreich Art Advisory Services Elvis 2003 oil on canvas 108 x 93 inches Stefan T. Edlis collection

«Mars,» a Squeak Carnwath work in oil and alkyd on canvas over panel, is spotlighted in «Material Matters» through March 13 at Seager Gray Gallery.

While they often resemble large - scale collage, Kim Fisher's systematically painted canvases are created through a process of layering oil on linen.

Whether painting in plein air, or working in the studio, I set out each day on a journey to bring the subtle contrast of light and dark onto my canvas through the use of oil paints with a mixture of brush and knife.

«Cornelia Foss» is a survey of Cornelia Foss's oil paintings on canvas from the late 1990s through 2014.

Her oil - on - canvas Through the Half Drowned Stars recalls (in reverse image) François Boucher's 1742 painting Diana After the Bath; in both paintings, a seated nude with one leg crossed assumes a motif whose pedigree runs back through Raphael to Michelangelo's torqued male ignudi on the Sistine Ceiling, and to its source in Greek scuThrough the Half Drowned Stars recalls (in reverse image) François Boucher's 1742 painting Diana After the Bath; in both paintings, a seated nude with one leg crossed assumes a motif whose pedigree runs back through Raphael to Michelangelo's torqued male ignudi on the Sistine Ceiling, and to its source in Greek scuthrough Raphael to Michelangelo's torqued male ignudi on the Sistine Ceiling, and to its source in Greek sculpture.

This tour de force of scholarship bears paintings, drawings and five of his six known sculptures, where Pollock pushed on through, farther than even his previous drip paintings, to forge some of the most radical art of the 20th century: sublime, sexy black enamel and oil pours on pure, unprimed canvas.

Laying his support (first flimsy paper, later canvas) on the floor, and holding on to a rope suspended from the ceiling of his studio, he would slip and slide through blobs of oil paint.

Not inscribed Oil on canvas, 15 x 18 1/8 (38 x 46) Bequeathed by the Hon.. Mrs. A.E. Pleydell - Bouverie through the Friends of the Tate Gallery 1968 Prov: The artist's family, Aix - en - Provence; Georges Bernheim, Paris; with Bernheim - Jeune, Paris, January 1920; M. Wanamaker, January 1924; Walter Berry, Paris; Mrs. Edith Wharton, Saint - Brice - sous - Forêt; James Bomford, Aldbourne, Wilts.; with Lefevre Gallery, London, and Matthiesen Gallery, London (jointly) 1943; the Hon.. Mrs. A.E. Pleydell - Bouverie, London, November 1943 Exh: Paysages Impressionnistes, Bernheim - Jeune, Paris, February - March 1920 (1); Cézanne, Bernheim - Jeune, Paris, December 1920 (18, repr.)

Chord II Artist: Joan Mitchell 1925 - 1992 Date: 1986 Classification: painting Medium: Oil paint on canvas Dimensions: unconfirmed: 1620 x 970 mm Presented by Jytte Dresing through The Merla Art Foundation 2009 © Estate of Joan Mitchell

General Idea's painting in HOMOGENIUS is entitled «Crème de la Crème de la Crème», oil on canvas, 42 ″ x 42 ″, and is described by this collective as «General Idea's stylized geometric poodle machines go through the motions simulating sex tableau vivant in a post-empire manner».

Name: Path Leading Through Tall Grass (1877) Artist: Pierre - Auguste Renoir (1841 - 1919) Medium: Oil painting on canvas Genre: Impressionist landscape painting Movement: French Impressionism Location: Musee d'Orsay

T01869 PORTRAIT OF SIR JOHN ROTHENSTEIN C.B.E. 1938 Not inscribed Oil on canvas, 30 × 19 1/4 (76.2 × 49.5) Presented by Lady Dynevor through the Friends of the Tate Gallery 1974 Coll: Sir John and Lady Rothenstein; Lady Dynevor 1973 Repr.

Gilbert, George (381 - 1, 381 - 2) Artist: Gerhard Richter born 1932 Date: 1975 Classification: painting Medium: Oil paint on 2 canvases Dimensions: each: 684 x 631 x 45 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Gerhard Richter

Brigid Polk (305) Artist: Gerhard Richter born 1932 Date: 1971 Classification: painting Medium: Oil paint on canvas Dimensions: support: 1750 x 1752 x 28 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Gerhard Richter

The exhibition is survey of the artist's oil on canvas works from the late 1990s through 2014, including seascapes, landscapes, paintings of oases inside New York City's Central Park and several portraits of family members and friends.

The main gallery features Lee's recent ballpoint ink works on canvas and acrylic and oil paintings that display Lee's signature ability to create a massive single form through the overlay of thousands of lines.

James A. Porter, Still Life with Peonies, 1949, oil on canvas, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program, 1994.59

Now at Pace through January 13, «Elizabeth Murray: Painting in the»80s» takes the picture plane on a barnstorming joyride, beginning with the sloshing, shattered coffee of Wake Up (1981) on up through increasingly wild, expanding forms of oil on canvas that seemingly bend, crunch, and splat.4

Milton Avery Little Fox River, 1942 - 43 Oil on canvas 36 x 48 inches Permanent Collection of the Neuberger Museum of Art Purchase College, State University of New York; Gift of Roy R. Neuberger This exhibition examines the contributions of Milton Avery as a significant figurative painter from the late 1920s through the early 1960s.

Unafraid to face the present head - on, Rae distills the essence of our era of mega-cities, phenomenal technological advancement, split - second global communication and mind - blowing virtual reality through the medium of acrylic, oil, and sometimes gouache paints — plus the odd bit of glitter — employing every imaginable technique, on canvas with a sure and highly original hand.

Completed All India Higher Secondary at Sainik School, Kazhakoottam.He had his initial spell in pencil drawing, slowly transforming through Water Colour into Oil on Canvas when he reached college.