Sentences with phrase «oil on paper paintings»

Moving around the gallery, we see three oil on paper paintings by Brian Novatny, two of which are shown below

The verso of PH - 656 has an inscription that reads «Oil on paper painted 1928 in Killam, Alberta 14 3/4 ″ x 17 3/4 ″, PH - 656 BW, sowing wheat on windy and stormy day».

Not exact matches

He also painted this rendering of the Akedah in oil and guache on paper, just as he did with many of the other etchings done for Vollard.

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.

Gallerie Silo: Opening reception for Works on Paper, a collection of charcoal, pencil, pastel, oil paint and ink sketches and doodles journaling artist Michael Armour's growth over the past few years.

Mandy Lyn Ford, Bad Boy, 2015, acrylic, spray paint, oil paint, foam paper, and super gel on ceramic, 9 x 7.5 x 4 inches

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).

More than 20 large - scale oil paintings will be on view alongside 50 never - before - exhibited works from the 1930s, which show the artist working in watercolor and gouache on paper.

In the early»80s, [Anselm Kiefer] began to move away from the more specific references to Germany's troubled history and he began to use other materials — sand, metal, paper, and found objects — on top of his oil paintings.

After finishing the large paintings for the show at John Davis, I began a series of small oil on paper pieces from 6 x 8 inches to 10 x 10 inches.

The importance of three - dimensionality is apparent when one compares her oil paintings from this period to related drawings: even when these are on several pieces of paper creating a shape or a broken field, they operate in a more conventional relation to form.

Hugo McCloud light sway, 2016 aluminum foil, aluminum coating and oil paint on tar paper 76 3/4 x 96 3/4 inches (194.9 x 245.7 cm) HM - 106

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.

In the red and on the hot seat 2014 extruded and fabricated copper with enamel paint, wood, wood putty, papier mâché, Japanese paper, steel wire, acqua resin, acrylic and oil paint 21 1/2 x 21 1/2 x 21 1/2 inches

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

ingredient's isle, 2013, sand, cayenne pepper, baby powder, coffee, turmeric, cinnamon oil, drift wood, rocks, silk, rabbit skin netting, and drywall, accompanied by sound incased in foam, surrounded by paintings on paper, honey comb board and molded rabbit skin glue, dimensions variable.

Static 2014 Assorted textile, oil stick, acrylic, spray paint, and silkscreen on archival paper 38 x 48 inches

Ink, silkscreen ink, vinyl paint, acrylic, oil, pastel, paper, wood, solvent transfers, stickers, handmade paper, thread, board, and glue on linen and polyester, five parts: 138 1/8 x 106 1/2 x 2 5/8 inches overall.

Here, oil paintings, works on paper, and bronze sculpture are each characterized by the presence of distorted, haunting figures.

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

Untitled 2014 Assorted textile, oil stick, acrylic, spray paint, and silkscreen on archival paper 44 x 41 inches

Works on paper and a selection of studies accompany over a dozen paintings in oil and acrylic that demonstrate the evolution of the artist's interest and approach to color, balance, and symmetry.

His large - scale works begin as drawings either on paper or on the computer screen before they are printed or transferred to canvas and then embellished with oil paint.

Rachel Macarthur's four oil paintings on paper are informal, gestural, arriving - at - form in the process of paint application, and there is gesture and painterly dialogue in the three wonderful paintings by Karl Bielik.

They cling firmly to the fundamental principles of their art and do not araise any doubts about the methods, techniques or materials they apply: Houseago makes sculptures and casts with plaster and clay, Bessone paints on canvas or paper with watercolours and oil.

The first step is painting on a large piece of Mylar, the scale of this piece of paper and he would use an oil stick or a paintbrush to paint an image on the Mylar.

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.

Also on view are several early non-ballpoint works; an early lithograph Untitled (1979); a drypoint etching Untitled (1980); two small crayon and oil on paper works Untitled B (1980) and Untitled R (1980); an acrylic and oil on board Untitled 84 - 6 (1984); and Untitled 82 - A (1982), a stunning example of an early painting drawn with a sharp nail and a precursor to his recent acrylic and oil paintings.

McArthur Binion, DNA: Study: Zero, 2014, oil paint stick and paper on board.

A provocative figurative oil painting on paper of a couple the question asking, «So how do we finish this?

Fontana Contended in the Late 1930s Helen Molesworth: Don't Look Back: Eva Hesse's Early Work Andrea Rosen Gallery is delighted to present an exhibition of oil on paper works by Willem de Kooning, «baroque» ceramic sculpture by Lucio Fontana, and Eva Hesse paintings from the 1960s.

In your inquiry, please include the unframed dimensions, the medium (oil, watercolor, pastel), the support (canvas, wood, cardboard, paper), any inscriptions on the front or back of the painting, and clear digital images of the front and back of the painting.

On view will be oil paintings, mixed media works on paper and sculptureOn view will be oil paintings, mixed media works on paper and sculptureon paper and sculptures.

For his second solo outing at the gallery, White will exhibit large - scale oil paintings as well as smaller works on paper, in which he continues his examination of the interstices between representation, abstraction and the tactile sphere of everyday life.

Many of the Depression - era paintings she made were oil on paper, because materials were hard to come by and expensive, and the exhibition is dominated by large - scale compositions on paper.

«Thresh Hold (World Series),» 1992 (oil on paper with painted fabric and paper collage including Xerox reproduction).

Though fairly small and executed on paper, these loosely brushed tempera and oil paint - ings demonstrate an awareness of Abstract Expressionism while often asserting cruciform shapes in vivid reds, golds and purples.

Rosemary Lyons & her beautiful gold leafed assemblage / paintings, Toto Takamori's tiny wet on wet oil paintings, Darryl Moody's photos of urban walls, Jeffrey Greenberg's photos of abstracted images of bits of reality, Sarah Riley's homage to Camille Claudel, Rodin's protégée and Meredeth Turshen's lush abstract paintings on paper - just half of our outstanding Affiliate program.

Blurred Lines, Clear Vision, 2014 aluminum foil, aluminum coating and oil paint on tar paper 79 x 78 inches (200.7 x 198.1 cm) HM - 4

The works on paper, made with crayon, marker, oil, and pastel, are a wholly separate practice from the paintings, created in the artist's intimate home space.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

Acrylic, bleach, enamel, latex, and paper collage on cut, draped, and sewn cloth and canvas; oil and spray paint on two leaning canvases; found objects.

Meredeth Turshen creates striking oil paintings on paper that can be interpreted as summery landscapes or read as abstract works.

Deborah Grant, «In the Land of the Blind the Blue Eye Man is King,» from the series By the Skin of Our Teeth, 2007 (oil, archival ink, paper, Flashe paint, and enamel on five birch panels).

to the sky i looked for the path to follow - sequence series 5 of 9, 2016 aluminum foil, aluminum coating and oil paint on tar paper 84 1/4 x 76 1/2 inches (214 x 194.3 cm) HM - 115

Highlights include the vibrant pastel on paper, Cakes, 1967, a monumental figurative painting, Girl in Striped Blouse, 1973 - 75, and a rich oil painting, Sunglasses,1983 - 85.

Abstract - expressionist James Brooks did not make drawings in preparation for paintings but used them as another arena for experimentation, seen here in an untitled oil and gouache on paper.

Currently on view at Gallery 16, San Francisco is «From the Sky Rivers Look Like Snakes» a solo exhibititon by Jason Jägel presenting three bodies of work; large oil paintings, works on paper and smaller...

Cy Twombly Untitled, 1960 Pencil, oil - based house paint, wax crayon, and ballpoint pen on paper 19 5/8 x 27 1/2 inches (50 x 70 cm) © 2015 Cy Twombly Foundation

a concert for television, 2014 aluminum foil, aluminum coating and oil paint on tar paper 84 x 118 inches (213.4 x 299.7 cm) HM - 10