Sentences with phrase «oil paintings line»

Not exact matches

he makes line drawings for tattoos, figure painting on his iPad, oil painting and digital work.

Creative Abstract Art Activity Templates with coloured examples and photographs, using watercolour paints, oil pastels, felt tip pens to give you ideas of how to use them a) hidden acorn in squares b) hidden acorn in diamonds / triangles c) hidden oak leaf in squares d) hidden oak leaf with random lines e) hidden maple leaf with random lines f) hidden apple in squares 4.

SEMA Art Walk From sculptures to oil paintings and line drawings, automotive fine art captures renowned vehicles, race action, historic events and the personalities who built the industry.

5 - inch high - resolution TFT colour display, Coolant temperature gauge, External temperature gauge, Front and rear park assist, Oil temperature gauge, On board computer, Porsche Communication Management (PCM) including DVD navigation, Power steering plus, Remote tailgate / fuel filler releases, Service interval indicator, Sports button in centre console, 2 speed front wipers + intermittent wipe, Auto dimming interior + exterior mirrors, Automatic headlights, Body colour door handles, Colour coded bumpers, Day running lights, Electric windows + anti trap protection + one touch open / close drivers side, Electrically adjustable and heated door mirrors, Front fog lights, Grey tint in upper edge of windscreen, Heated rear windscreen, Heated washer jets, Integral rear antenna, Intermittent rear wash / wipe, Painted side air intakes, Painted tailgate strips with platinum silver, Platinum silver roof spoiler separation edge, Power foldback door mirrors, Privacy glass, Rain sensor, Stainless steel door entry guards, 5 12V sockets, 60 / 40 asymmetric split folding rear seats, Active carbon filter, Adjustable headrests (except centre rear), Air quality sensor, Automatic air recirculate, Delay courtesy light function, Door safety lights - front and rear, Engine Compartment Light, Fabric roof lining, Floor mats, Footwell courtesy lights front and rear, Front and rear cupholders x 2, Front and rear door entry lights, Front centre armrest, Front reading lights, Front seatback pockets, Ignition Lock illumination, Illuminated air conditioned glovebox, Illuminated ashtray, Illuminated centre console storage, Illuminated driver / passenger vanity mirrors, Illumination of luggage compartment, Isofix system on outer rear seats, Leather door armrests + grab handles on centre console, Manual height / reach adjust steering wheel, Passenger under seat storage tray, Pollen filter, Porsche crest embossed in front and rear headrests, Rear centre armrest with storage compartment, Rear reading lights, Retractable Loadspace Cover, Retractable luggage net, Roof mounted sunglasses holder, Stainless steel pedals, Steering wheel gearshift paddles, Storage bins on all doors, Storage compartments in cargo area side walls, 3 point front / outer rear seatbelts + pre-tensioners + force limiters on front seats,Anti - lock Brake System + ABD,Anti - slip regulation, Curtain airbags, Electronic Damper Control, Electronic parking brake, Front seat belts warning, Front side airbags, Full size driver and passenger airbags, Height adjustable front seatbelts, Hill hold control, Passenger airbag deactivation system, PTM (Porsche Traction Management), Alarm system + interior ultrasonic protection + inclination sensor, Electronic transponder immobiliser, Preparation for vehicle tracking, Remote central locking, Two stage locking, 100 litre fuel tank, Diesel particulate filter, Porsche stability management (PSM), Integrated cluster with black bezels, Trim strip in silver, Wheel centres with full colour Porsche crest

2006: 85,501 miles New DME relay 2008: 89,300 miles Major service Valve adjustment Oil service, new belts, 93,878 miles Oil lines replaced New gear lube oil 2010: 93,900 miles Replace alternator and housing 2017: Rear valence Rear tail light lenses Door sill covers New hood shocks The paint has a good finiOil service, new belts, 93,878 miles Oil lines replaced New gear lube oil 2010: 93,900 miles Replace alternator and housing 2017: Rear valence Rear tail light lenses Door sill covers New hood shocks The paint has a good finiOil lines replaced New gear lube oil 2010: 93,900 miles Replace alternator and housing 2017: Rear valence Rear tail light lenses Door sill covers New hood shocks The paint has a good finioil 2010: 93,900 miles Replace alternator and housing 2017: Rear valence Rear tail light lenses Door sill covers New hood shocks The paint has a good finish.

I wasn't satisfied with a painted illusionistic texture and so I carefully extruded thin thread - like lines of oil paint out of a little plastic bag to re-create the three - dimensional terry cloth texture that I desired.

Their surfaces are animated by lines where the squeegee has paused, by brushstrokes, other scrapings, and areas where the skin of oil paint has dried and rippled.

Two Line Spray Portrait with Painted Eye and Four White Stripes / 2012 / Oil enamel and spray paint on canvas / 96» x 60» / PLS INQ

The evening's top grossing lot was a simple, austere and zen - line Barnett Newman black and white Black Fire I, oil on canvas, Painted in 1961.

The line cutting through the oil paint is never a clean dark path — the stylus makes an edge and the oil paint moves away in its own fashion; also the areas of white oil color have their own character and vary in density resulting from Lee's method of application.

While earlier, enamel works focused on line and flatness, her move to oil paint in 2001 has resulted in a sculptural, almost three - dimensional style.

This selection of paintings from the 1970s shows a range of Minimalist - inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921 - 2009), a Day - Glo round - edged canvas by Ralph Humphrey (1932 - 1990), atmospheric grid - based oil paintings by Warren Rohrer (1927 - 1995), subtly - lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928 - 2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.

In her unique approach to painting, Kate Shepherd applies threadlike lines of oil paint upon highly saturated layers of enamel.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

Radiating lines drawn in oil stick across the canvas both infuse the work with a sense of dynamism and energy and incise layers into the thick oil paint.

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

While the paint is still thoroughly wet, a brush loaded with black oil paint is dragged horizontally in a straight line from the top left edge of the painting almost to its right edge.

Row paints in heavily worked layers of lush oil paint, gradually forming a dense network of marks and lines.

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

(251.1 x 251.1 cm) Medium: Oil on canvas Credit Line: Purchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest), the North Carolina Museum of Art Guild, and various donors, by exchange Object Number: 96.2 Culture: German Signed: Verso, right center: Richter 1985 Inscriptions: Verso, near top left: 577 - 2 Classification: Paintings Department: Modern

Historians have argued that the work stands as a precedent both for the artist's own performances in the 1960s and for the explosion of performative work in that decade.20 Paul Schimmel astutely places Automobile Tire Print on a trajectory of performative works based on the notion of capturing an indexical trace, reaching back to Pollock's drip paintings, moving up through Rauschenberg's blueprints, and on to Piero Manzoni's Lineas (1959 — 61), Paul McCarthy's video Face Painting — Floor, White Line (1972, fig. 5), and Ulay and Marina Abramovic's 1977 performance Relation in Movement, in which they drove a van in a circle for sixteen hours, leaving a circle of oil drips and tire marks on a public plaza in Paris.21

Threadlike lines of oil paint are applied on highly saturated layers of enamel, and joined wood panels, connoting the architecture for which the paint is meant, are the base of the paintings.

In her distinctive approach, Shepherd applies fine lines of white oil paint upon monochromatic layers of glossy enamel.

LINE selects a wide collection of artworks from ten Chinese contemporary artists who are based in China and Australia, covering a multiple variety of traditional and contemporary media of Chinese painting, oil painting, print, sculpture, installation and video art.

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

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.

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.

A formal tension in Ferris's work exists between types of mark - making: fields of spray call to mind a quasi-photographic, Richterian blur, while scraped - on graphite and textured lines of oil pastel bring the paintings back into a non-objective realm.

This body of work can be grouped into two categories: watercolors with web - like black lines interwoven over masses of color suggesting successive layers of depth, and oil paintings of extremely heavy consistency in which controlled randomness allows for the appearance of an unconscious, interior landscape or what the French surrealist artists called an «inscape.»

The works on view, a selection of oil paintings and works on paper including acrylic and crayon, display a joyful exuberance expressed through sensuous black lines and both geometric and amorphous shapes that are reminiscent of both Miró and Matisse.

Viewers must cautiously walk the narrow and dark path between the wall and canvas, following the painting's soft fields of muted beige gradations, outlined and entangled by the white, red and black lines traced with her signature oil sticks.

In the first work here — «Untitled # 17» from 1958 — the textured white oil paint recalls abstract Guston, while a faint line of blue fissuring down the surface is reminiscent of Clyfford Still's craggy abstractions.

Murray, who had once again embraced oil paint, concerned herself with the most elemental components of a composition: line, shape, color, and surface.

Lining the lower levels are academic paintings in the newly introduced technique of western oil painting — portraits, figure studies, landscapes, still lifes.

Executed in oil on canvas from a digital image, the paintings incorporate layer upon layer of fine lines of colour to create architectural - like forms, suggestive of a dense, abstracted cityscapes.

«Between the Lines» is a small size abstract framed oil on canvas painting created in 2018 by American artist Geri Eubanks.

Scubby Line, 2014, House paint, oil and collage on canvas OLIVIER ZAHM — How has street culture in America changed in the past few years?

The ten oil paintings that line the wall at Bill Maynes Gallery are touched very lightly with little paint.

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.

Join us for a workshop in art history, color theory, drawing from the figure, drypoint etching, figure drawing, the monoprint, oil painting, photography, plein air painting, still life drawing, watercolor, the white line print, and exploring your creative expression.

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

All untitled, the works blend traditional oil - painting techniques and drawn lines with collage and screen - printed images that Owens digitally manipulates.

This act of layering — quite physical in its presence — is produced by the artist's application of slender intersecting lines of oil paint that form a scrim on the paintings» surface.

Joe Camoosa returns to Kai Lin Art with a selection of large and detailed oil paintings that overlap translucent fields of color with interwoven geometric shapes and lines.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Calame uses the documentary information from the tracings as a stepping off point or scaffolding in the creation of formal compositions that engage with layering and fragmentation while letting the oil paint soften the movement from line to shape.

Among the show's other notable works is George Condo's Homage to Manet, 1985, an oil painting that references the work of the great impressionist painter, and which stands in stark contrast to Andy Warhol's exploration of colour and blurring of commercial and fine - art lines in Reflected (Purple, Red, Green and Yellow on Black), 1982 (fourth picture).

Ryan Schneider's oil paintings include impressively stylized line work that weaves behind and over a centered figurative image.

In one series of five large works, a flat layer painted in the fashion of wood grain is overlaid with a contrasting layer of built - up oil in perfect parallel lines.

Her four Tangled Tips (Lines for Zion) drawings from 2000, subtle studies in small gestures of ink on blue paper, share a rhythm with four oil and enamel on paper paintings from the Community series (2013) on the opposite wall.