Sentences with phrase «oil painting practice»

I had also become bored with my oil painting practice and knew I needed to start taking more risks technically.

Not exact matches

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).

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

Qiu Xiaofei's (b. 1977, Harbin, China) artistic practice includes oil painting, watercolor, drawing, sculpture and installation.

Eliav's practice involves a complex relationship with other works of art, following a process that includes digital reworking, reproduction and distortion, alongside traditional oil painting techniques.

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.

Spring Poppy Fields features fourteen vividly coloured, oil on linen paintings that have occupied the artist's practice between 2011 and 2014.

The exhibition will explore Pollock's practice via a selection of paintings made between 1947 and 1949; these works will serve to contextualize the radical departure represented by the black paintings, a series of black enamel and oil paintings that Pollock created between 1951 and 1953.

Wittenberg's practice commences, in this instance, with a loose watercolor painting on paper, then oil and acrylic, collapsing into a line drawing, and then, finally, monotype printing.

Explorations in oil, acrylic and mixed media as well as analysis of contemporary practices lead to students developing personal strategies in painting.

This October, they will celebrate the 90 - year - long artistic practice of another legend, Alex Katz, with some unique oil paintings on wood from the Small Paintings series and cupaintings on wood from the Small Paintings series and cuPaintings series and cut - outs.

A highly respected art conservator practicing in Roxbury, Connecticut, Yost's experience restoring fine oil paintings from the eighteenth to twentieth centuries has allowed him to translate the techniques of the masters into contemplative landscapes for modern viewers.

The small oil sketches in this exhibition originate in his practice of painting directly outdoors.

It will explore artistic practices that range from installation works by artists from the post-internet generation to abstraction in oil paintings, from performance art to ink and wash, from analog photography to new media art.

Constant, OriëntSector (1959), (metal, ink on Perspex and oil paint on wood): Motivated by the utopian notion that World War II had ushered in a new era in which the automation of all production would bring about a stable, classless society, Dutch artist Constant began a two - decade - long project to devise an appropriately progressive architecture and urban planning practice.

«My artistic practice is based in figurative oil painting and is motivated by my interest in human experience and behaviour.

noon to 1 p.m. Thursday, February 5 FACULTY BIENNIAL ARTIST TALKS: Believable Fictions: Three Ways with Ronald Christ, professor of painting and drawing, and Life Under Pressure: Re-Contextualizing the Print with Monika Meler, assistant professor of printmaking Ronald Christ's studio practice includes work in oil painting, opaque watercolor, and drawing.

Gibson's painting practice often includes sculpted pigmented silicone, in addition to the simultaneous use of oil, acrylic, and spray paint; he employs these to create layers of patterns in low relief or thick impasto.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

The range and material practice of painting today has expanded greatly beyond traditional methods of oil on canvas.

Wu Dayu's «Documentary Exhibition: The Forgotten, the Discovered Star» at the Chinese Academy of Oil Painting showed how distant an artist's creative practice can sometimes be from his or her life circumstances, even though the two are necessarily intertwined.

Richard Aldrich, If I Paint Crowned I've Had It, Got Me, 2008 Oil and wax on wood, on cut linen 84 x 58 inches January 21 — May 1, 2011 Chronicling an abstract personal account of his relationships, studio practice, and his sense of history, New York - based artist Richard Aldrich has in recent years placed himself at the forefront of a new approach to the medium that re-thinks how a painting is made, how it -LSB-...]

Tapley notes that the five painters in the show, Robert Anderson, Daniel O'Connor, Tim Parsley, Emil Robinson and Tina Tammaro, have each committed to «a curiously old - fashioned choice: to keep making pictures by hand, using simple drawing materials, and a grand old medium, oil paint... these painters [also] devote themselves, at least in part, to another old practice: working from «life.»

The exhibition consists of a series of real - time portraits that Kopp painted of fiercely loved subjects that sat for him via Skype, marrying the practice of 19th - century oil painting with modern communication.

Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice.

The incredibly detailed paintings include landmark scenes from his life including him tranquilizing a polar bear, fishing shirtless, riding a horse shirtless, discovering two ancient Greek amphorae in the Black Sea, practicing martial arts, writing a book about martial arts, co-piloting a firefighting plane to drop water on a raging forest fire, and painting his series of oil paintings.

Painted in 1952, Mark Rothko's superb oil on canvas Untitled is a vibrant and deeply moving masterpiece, created in the first years of his maturity when Rothko discovered the new vision and new structural language that defined his painterly practice for the rest of his life.

John Marin painted The Written Sea in 1952, when he was 82 years old, and it is considered one of the masterpieces of his late career, during which oil painting played a central role in his practice.

In an essay, Lowery Stokes Sims describes his practice thus: «Andrews's use of collage came out of that fact that he found oil painting «too academic» and imbued with more «sophisticated» associations.

Thomas Sills, inspired by his mosaicist wife Jean Reynal, began his self - taught artistic practice working with materials found in her studio such as rags, velvet, house - painter brushes, oil paint, wood, and canvas.

In 1625, Baroque painter Peter Paul Rubens wrote that he was creating an oil sketch of the Three Graces using opalescent gray and warm brown hues — «en grisaille et non couleurs» — thus giving name to the practice of intentional chromatic reduction in painting and sculpture that has become an enduring paradigm of artistic practice to the present day.

Emerging at the height of the British Pop movement, his early practice emphasized the figure, while experimenting with expressive gestural applications of oil paint.

She works with acrylics now, instead of oil paint, but it's still her practice to dilute her pigments and pour them directly onto unprimed canvas with the help of squeegees, sponges and mops.

A contemporary artist with a focus on plein air landscape painting in pastel and oil, and a studio practice in the Old World egg tempera technique.

Frustrated by the «historically - loaded» convention of oil painting, he began to focus his practice on multi-layered compositions using a variety of cheap and readily - available material; such as coloured tapes, felt - tip pens, found objects and various fragments of fabric, paper and plastic.

For her inaugural exhibition with the gallery, Casteel (b. 1989, Denver, CO) presents a new series of larger - than - life oil on canvas paintings depicting black male subjects who continue to guide her practice.

Sable Offshore Energy Inc. et al. v. Ameron International Corp. et al. 2013 SCC 37 Practice — Discovery — What documents must be produced — Settlement documents and other agreements The plaintiffs» oil rig was painted using paint manufactured by the Ameron defendants.

• Track record of instructing students about basic sketching and contouring techniques • Well versed in evaluating students» work, charting their progress, grading assignments and guiding them regarding their weaknesses appropriately • Hands - on experience in curriculum development, lesson planning and implementation with aid of modern and effective AV aids and instructional strategies • Expert in instructing students about working in various modes including pastels, oil colors, water colors, fabric paints, charcoal and pencil • Adept at creating and maintaining a highly stimulating, inspiring and multicultural classroom environment • Proven ability to introduce novel forms of art and inculcate the same in the curriculum effectively • Demonstrated ability to enhance creativity among students by encouraging innovation, novelty and originality in their pieces of art • Familiar with various kinds of pixel sheets, sketching paper and art material, fully capable of determining age specific art material and techniques, suitable for assigned level and grades of children • Known for initiating, designing and implementing various art contests at the school to encourage a general appreciation for art among students • Competent at identifying course goals and fulfilling the same in collaboration with students, teachers and parents • Proven skills in lesson planning, curriculum implementation, technique instruction, practice facilitation and assignment communication • Profound knowledge of various advanced level 3D effect art techniques • Strong classroom management, organization and discipline control skills • Profound ability to devise innovative learning and instructional techniques to facilitate effective transfer of skill and knowledge • Proficient in use of computer to aid art work, familiar with various graphic designing and drawing enhancement software