Sentences with phrase «oil paint stained»

Today many of her oil paint stained canvases are deteriorating.

Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952.

Not exact matches

For the cost of $ 4 for adults, $ 3 for senior citizens and children between the ages of 6 and 12, visitors will see men in top hats and women in flowing, floor - length dresses displaying and demonstrating their crafts, which include wood carvings, photography, quilts, white oak baskets, suede cloth, handwoven rugs, Chinese brush paintings, stained glass, pottery, jewlery, metal sculputure and watercolor, acrylic and oil paintings.

Hi Hayley, I like the wipe on Poly too, but I believe that only comes in the oil based version which I don't use over paint, just stain, because it can amber.

Instead of choosing the more costly option of putting in a completely new railing, I decided to use an oil based paint and gel stain to refinish the oak banister.

Finishing: I have a full tutorial to come separately on the very distressed finish I achieved which involved stain, layered milk paint, wax, and hemp oil.

Other times you might find yourself at the kind of paint peeling, oil - stained, one - horse desolation station behind which you'd half expect to discover a dead body.

The front door is at the opposite side, opening on to a square of oil - stained gravel behind the iron gate that is still painted green, though rust has reduced its struts to a tremulous filigree.

Media includes everything from photography, jewelry, and fiber art to pottery, stained glass, and oil paintings.

I make hand quilted wall quilts, stained glass, started in oil painting, watercolor and wood bird carving.

Still Life with Orange Stripes and Three BB Holes / 2015 / Oil, acrylic, gesso and mud with polymer medium, ink, marker, spray paint and smoke stain on canvas / 48» x 36» / $ 6,500

Still Life with Painted Pear and Lower Case Letter O / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

Miró pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery.

Still Life with Four Blue - Green Stripes, Two BB Holes and White Drips / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

Still Life with BB Holes, Painted Pear and Learn to Draw Rodent / 2015 / oil, acrylic, enamel, spray paint, ink, gesso, and mud with polymer medium and smoke stain on canvas / 48» x 36» / PLS INQ

Still Life with Ten Red - Purple Stripes, Painted Bite - Size Spiced Donuts and a BB Hole / 2015 / oil, acrylic, spray paint, mud with polymer medium, gesso, wood glue, smoke stains and floor sweepings on canvas / 84» x 30» / PLS INQ

Still Life with Two BB Holes and Drips / 2015 - 2016 / Oil, acrylic, spray paint, gesso, ink, and mud with polymer medium and smoke stain on canvas / 48» x 48» / $ 7,500

The following year, with Mountains and Sea, 1952, she created another kind of painterly space by staining unprimed canvas with oil paint while allowing telltale signs of drawing to remain.

Still Life with Orange Drips and Painted Pumpkin / 2015 - 2016 / Oil, acrylic, enamel, spray paint, ink, gesso and mud with polymer medium and smoke stain on canvas / 96» x 60» / $ 12,000

Brooks began diluting his oil paint in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used.

Among the work on view will be mural - scale oil paintings from the Power Play series (1982 - 86) and a large free - standing stained glass Rainbow Shabbot from The Holocaust Project (1985 - 1993).

Her work begins with marks, stains and cracks on the ground which Calame traces, then combines layers and retraces, transforming them into drawings in coloured penicl or pure pigment and paintings in enamel or oil pain.

Dr. Tsai, the curator of the exhibition, will discuss the selection and presentation of nearly 60 works, including sculpture, stained - glass panels and oil paintings which together, as a whole, alter the narrative of art history.

The Untitled plywood paintings with brown oil stain will, over time, do what wood does when it ages.

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).

While thinned oil paint tends not to be as brilliant as stained acrylic, Bush's loose and casual application — usually with a brush — enlivened the surface, giving what became known as his «thrust» and «sash» paintings their characteristic warmth.

SHIRLEY GOLDFARB Chartres, 1971 Oil on canvas 76 4/5 x 118 1/10 inches This painting was inspired by the stained glass windows in the Chartres Cathedral in Paris.

The paintings (made by spraying, soaking and staining huge swaths of sheer cotton with the artist's proprietary diet cola formula) make direct use of the caramel - colored gold that is one of America's greatest symbols of youth and freedom as well as its premier health risk — an exported analogue to crude oil.

Rendered in a loosely naturalistic style with thin, drippy oil paint, these are reminiscent of Hurd's previous riffs on the art world, which have included hand - painted reproductions of art magazine covers and reviews of his shows as they appeared in print except stained and littered with malt liquor empties.

The haloing effect seen around each stain results from the turpentine that is used to thin out the paint, a step necessary for oil paints and the Magna brand of acrylic paint.

The bulk of her work are oil paintings on canvas, although Tryggvadóttir is also known for her illustrated books for children, works on paper and stained glass and mosaic works, located in such places as in the National Museum of Iceland, Skálholtskirkja, the headquarters of Landsbankinn, the service desk of Loftleiðir (presently, Icelandair) at the John F. Kennedy - airport, New York, and in Hotel Loftleiðir (presently, Hotel Reykjavík Natura).

Her work weaves bleach - stained bed sheets, muslin, transparent fabric and «varying viscosities of oil paint,» according to the gallery.

Because he liked to paint on raw, unprimed canvas, his oil paints would soak in immediately and stain it.

Framed raw canvases stained with dripped enamel and oil paintings hang on museum walls, reviving remarkable works of art from one of America's most prominent artists of the past.

Ligon, who based his ongoing «Stranger» series around this essay, documents the smudges of paint, oil stains, and fingerprints that have accumulated on his copy throughout his career, which he considers a «palimpsest of accumulated personal histories that suggests... a new strategy in his ongoing exploration of the interplay between language and abstraction,» according to a press release.

Gilliam's red, blue, and green watercolor, Parade VII, employs color through staining; Thompson's humorous oil painting, The Golden Ass, features a more traditional application; McArthur Binion uses crayon and collage elements in his 2016 brown abstraction, DNA: Sepia II; Nathaniel Mary Quinn's Mean Ol' Teacher uses color as a way to bridge abstraction and figuration in a collaged face made up of many different harlequin features.

She had previously been using turpentine - thinned oil paints to create her seminal soak - stain paintings, but she became dissatisfied with the way the oil paint interacted with her unprimed canvases.

Rather than painting thickly with opaque paint, Frankenthaler used oil and then later, acrylic paint, thinly like watercolor, pouring it onto raw canvas and letting it soak and stain the canvas, flowing into shapes of flat translucent color.

Frankenthaler's invention of soak - stain, which involved pouring turpentine - thinned oil paint (and later, watered - down acrylic) on a flat, untreated canvas, opened doors to the next big thing, Color Field painting.

She continued to employ her stain effect, but acrylic provided her with greater control over her effects as it was quicker to dry than oil paint.

He turned briefly from oil paint to walnut stain, and his powerful Brou de Noix paintings on paper, rarely seen in public collections, are surprisingly reminiscent of Robert Motherwell.

These Farhi paintings feature visceral mixtures of oil paint dripped in spots and blotches resembling the kinds of stains one fines on table clothes.

At the start of his career he often painted on paper stained with walnut juice, petrol or oil.

Oil stains seep through the floors, spectral hints from its industrial past (at the Pollock - Krasner House in East Hampton, the floor is splashed with the artists» paint drippings).

To achieve this soak - stain effect, Frankenthaler would mix house paint, enamel, tube oil paints, and either turpentine or kerosene.

During a period when Rockburne was completing a body of process - based works made from chipboard stained with crude oil, her own assistant was Carroll Dunham, whose early paintings employed different types of veneer as support that, in their material investigations, harken back to this period.

(Unfortunately the soak stain technique has proven a headache for art curators, as the oil in the paint comes into direct contact with untreated canvas, and eventually rots it.)

Color can come from the grain of a wooden surface, spray and house paint, natural substances, such as dyes, stains, even motor oil.

That strange squatting figure is made with a large oil stain, with wisps of thicker paint appearing as linear elements.

Her signature paint - thinning technique, in which she diluted the oil paint with turpentine, coupled with an entirely revolutionary method of staining (rather than dripping or brushing paint onto) the canvas undoubtedly changed the course of art history and influenced the likes of Kenneth Noland, Morris Louis and Jules Olitski.