Sentences with phrase «oil sketches on»

With approximately eighty oil sketches on paper, this exhibition reveals a private side of Albers's work.

With approximately sixty oil sketches on paper, this exhibition will reveal a private side of Albers's work.

1 Georges Seurat (National Gallery, London): The story of the complex evolution of the quotidian but disturbing Bathers at Asnières was told through drawings and oil sketches on small panels in such a way that you felt you were following the young Seurat's ambitious progress, moment by moment, draft by draft.

The exhibition also featured two illustrated artists» letters by Edouard Manet (1832 — 1883) and Vincent van Gogh (1853 — 1890) as well as approximately forty oil sketches on paper by European artists of the late - eighteenth to mid-nineteenth centuries.

Here, an artist mixes paints with a palette knife while holding his brushes as he makes a preliminary oil sketch on his canvas based on the drawings spread out near his feet.

From the author's note: «In the summer of 1978 I took photographs of the surface of an oil sketch on canvas

Not exact matches

About Blog Authored by Cathy Gatland - Sketching, watercolours, oil painting, sketch and travel journals, a hotchpotch of what's on my right brain right now.

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.

About Blog Authored by Cathy Gatland - Sketching, watercolours, oil painting, sketch and travel journals, a hotchpotch of what's on my right brain right now.

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).

To make one of his large works, Katz paints a small oil sketch of a subject on a masonite board; the sitting might take an hour and a half.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

The series focuses on works drawn from the collection of oil sketches acquired by Morgan Trustee Eugene V. Thaw, who is also an honorary trustee of the Metropolitan Museum of Art, and his wife, Clare.

He makes paintings by going to public spaces around L.A., like the beach or the Americana mall, and quickly sketching what he sees there — tanners lounging in swimwear, dog - walkers, picknickers, etc. — on an iPad, then goes back to his studio and simply paints these scenes on canvas in acrylic, airbrush, and oil sticks that he melts on his stovetop.

While many have relied on preliminary drawing, but Théodore Géricault preferred oil sketches in developing Romanticism.

This new type of painting grew out of the sketches that she did on the chalkboards in a disused closed primary school with oil pastel.

Please note the link here showing Milene Fernandez's Epoch Times September 2017 article on the first Salmagundi Club Oil Portrait Sketching Contest.

Avery insisted on a rigorous study of his subject, and most of these mature works were the result of sketches or drawings made with color notations, later enlarged and simplified into watercolor or oil crayon and finally translated to oil applied in luminous, thin washes of closely valued colors overlaid with swiftly applied expressionist brushstrokes.

British artist Celia Hempton (at Southard Reid) has forgone her usual fascination with genitalia to produce a dashing oil sketch of the head and torso of a man called Jochen, while the Finnish artist Anna Tuori's exuberant painting It's All Now You See (on Galerie Anhava's stand) is a particularly captivating jeu d'esprit.

Jean - Charles de Castelbajac, Yves Droite Yves Gauche, Diptych, 2008, Oil on canvas This event takes place at Sketch, 9 Conduit Street, London, W1S 2XG Paradise Row is delighted to invite you to our second all - singing, all - dancing, award - winning, salon extravaganza... An all star cast for the evening: A display of selected paintings by Jean - Charles de Castelbajac, A -LSB-...]

Approximately thirty original works on paper and eight oil - on - canvas compositions by Clyfford Still comprise the exhibition, along with sketch - oriented materials, related photographs, and examples of the artist's self - described «interpretive studies» executed in the middle and late 1930s in Pullman, Washington.

In fact, Katz recalls that the painting was based on oil sketches he made in the afternoon, although the title leaves the time of day ambiguous.»

There were many surprising passes: Lot 87 was a thunderbolt design of fluorescent tubes by Dan Flavin that was one of his finest works in that it was an appropriate concept; Lots 122 and 130, large and excellent paintings by Sandro Chia (b. 1946); Lots 203 and 205, a good painting and a superb sculpture by Nancy Graves (1940 - 1995); Lot 223, a good gouache on paper by Sam Francis (1923 - 1994); Lot 242, a very good wood and paper collage by Louise Nevelson (1899 - 1988); Lots 279, 281A, 293, and 309, works by Andy Warhol, and Lot 299, «Fast Sketch Still Life With Abstract Painting,» a 60 by 90 inch oil on cut - out aluminum by Tom Wesselman (b. 1931), shown below.

Included were various groups of sketches, watercolours on wood and oil paintings of everything from intimate portraits of family members and scenes of the Red Army engaged in historic battles, to sites along the route of the Long March, which took place in the mid-1930s, and local figures and landscapes in Tibet.

Olana, the home and artist - designed landscape of nineteenth - century Hudson River School painter Frederic Edwin Church (1826 - 1900), loaned thirteen works from its collection for the exhibition Through American Eyes: Frederic Church and the Landscape Oil Sketch, which was on view at the National Gallery, London, from February 6 through April 28, 2013.

Alongside the ninety - five - year old volume, which Jung worked on from 1914 - 1930, the Hammer Museum will present a number of oil, chalk, and tempera paintings and preparatory sketches related to the Red Book, and other original manuscripts, including the Black Books, which contain ideas and fantasies leading up to the Red Book.

This exhibition, the first to examine Church's oil sketch achievement in depth on the other side of the Atlantic, was organized with and through major support from the Terra Foundation for American Art.

Charley Parker blogs about the exhibition Constable: Oil Sketches from the Victoria and Albert Museum on view at the Frist Center for the Visual Arts in Nashville, TN from June 23 - September 30, 2012.

The small, energetic oil on canvas sketches made shortly before the artist's death, are juxtaposed with earlier, large - scale abstract work.

He enlarged his initial sketches as photostats, traced them on gessoed panel, and completed an oil painting with a thinned color as if it were a watercolor.

Encompassing eight canvases depicting ships at port, Kyriazatis builds up oil paint in textured layers, drawing upon gestural plein air sketches that he makes on his travels around European harbours.

The Francis Bacon works on display in this show include: Reclining Woman 1961, Portrait of Isabel Rawsthorne 1966, Study for Portrait II (after the Life Mask of William Blake) 1955, Study for Head of Lucian Freud 1967, Portrait of George Dyer Riding a Bicycle 1966, Figure with Meat 1954, Figure in a Landscape 1945, Figures in a Garden c. 1936, Triptych August 1972 and numerous oil on paper sketches.

On a trip to Italy in 1828, German painter Carl Blechen (1798 — 1840) captured his surroundings in hundreds of exquisite drawings and oil sketches.

• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»

The work that was inspired and to an extent created in Vermont, from pencil sketches executed en plein air, fresh watercolors based on these sketches and painted while in Vermont, and many major oil paintings drawn from these sources and typically completed during the winter months in his New York studio, is celebrated in Milton Avery's Vermont.

John Constable, R.A. (East Bergholt 1776 - 1837 London) View on the Stour near Dedham, full - scale sketch c. 1821 - 22 oil on canvas 51 x 73 in (129.4 x 185.3 cm).

West Gallery: Ric Evans» exhibition includes five oil on wood (four of which measure 8 ′ x 8 ′) and four oil sketches.

Sir Peter Paul Rubens» oil on wood panel painting was a preparatory sketch for designs he later painted on ceiling canvasses at Banqueting House in Whitehall between 1628 and 1630.

This volume presents a substantial overview of the oeuvre of Berlin - based painter Albrecht Schnider (born 1958), looking at his figurative and abstract works on paper, meticulously crafted line drawings, landscape drafts, typographical sketches and paintings in oil or acrylic on canvas.

A silicone - and - wax oil puddle by Virgile Ittah and Kai Yoda becomes a lonely island, a familiar childhood cartoon slits and sketches across the picture plane until it is barely recognizable in a piece by Antoine Donzeaud, «[a] memory is cast in a foggy figure on the brink of evaporation» in Henry Chapman series of abstract paintings.

A series of new and grandiose grisaille panel paintings, based on small oil sketches and completely devoid of color, distort their subjects into grotesque parodies of altar paintings.

Overview: 55 paintings and drawings by John Constable were shown in this exhibition, which focused on Constable's 6 - foot - wide landscape paintings, including The Hay Wain, View on the Stour near Dedham, and Hadleigh Castle, and the associated full - size oil sketches.

From then on he traveled constantly in England or abroad, making innumerable direct sketches from which he drew material for his studio paintings in oil and watercolor.

From 1819, because of his wife's ill health, Constable rented a house for his family at Hampstead, making about a hundred studies of cloud formations, many oil sketches of Hampstead views, and several «finished» works on the spot (see Hampstead Heath, with the House Called «The Salt Box», c.1819 - 20, Tate Gallery N01236).

Read my review of 152nd Small Oil Painting Juried Show, Philadelphia Sketch Club on DoNArTNeWs Philadelphia Art News Blog

«Directing attention to the drawings and sketches of Edward Hopper, an artist known for his indispensable impact on oil painting, this [exhibition] catalogue is flush with keen and surprising insight.»

This discovery was made possible by comparing the oil painting with Kane's original oil - on - paper field sketch and relating the images to Kane's field journal, published book (Wanderings of an Artist), and 19th century maps.

Drawing on the paper Winning the Oil Endgame and the remarkable work of his colleagues at RMI, Lovins sketched a plan for transforming the way mobility takes place, the way vehicles are fueled, designed, and produced, and how profit can be the private sector's reward for getting America off oil by 20Oil Endgame and the remarkable work of his colleagues at RMI, Lovins sketched a plan for transforming the way mobility takes place, the way vehicles are fueled, designed, and produced, and how profit can be the private sector's reward for getting America off oil by 20oil by 2040.

About Blog Authored by Cathy Gatland - Sketching, watercolours, oil painting, sketch and travel journals, a hotchpotch of what's on my right brain right now.

• 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