Sentences with phrase «on canvas painting during»

Not exact matches

But this doesn't mean that the party is painting on a blank canvas: David Cameron, George Osborne and David Willetts have all made major speeches on childcare during the last year, and mapped out the strategic direction in which we're travelling.

Add in the Surface Pen (for an additional cost of course), and you've got a powerful note - taking machine for those who may not type during a meeting or class as fast as they can write (not forgetting you can also use it to sketch a quick diagram, add notes to the margins of your PDF files, and paint with it on - screen as if were a brush on canvas... heck, you can even handwrite musical scores or do your crossword puzzles easily using the pen as long as you are willing to pay for the requisite titles like the New York Times Crossword app in the Windows store).

The paint marks on the denim result from a re-performance of Thai performance artist's Duangjai Jansaunoi use of her own body to paint on canvas during season 2 of Thailand's Got Talent.

In 2004 Bartlett began to incorporate words into her paintings, including her recent Hospital Series based on photographs she took during an extended stay in the hospital, in which she painted the word hospital in white on each canvas.

Along with other works painted during the same period, such as Field for Skyes, in the collection of the Hirshhorn Museum and Sculpture Garden, and Clearing, at the Whitney Museum of American Art, Blueberry demonstrates Mitchell's ability to depict space on canvas.

During a painting workshop in Saskatchewan Canada in 1981, Bannard developed a kind of gel «drawing» on canvas, in which he applied his paint on large sheets of fiberglass, according to Berry Campbell.

The three paintings that were on view during his show — Peekaboo, Prom Night (For Bigger Thomas), and Window Painting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livePainting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livepainting and the ways in which people live online.

During this period, she developed her influential «soak - stain» technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

Love includes works on paper and on canvas — representing a significant transition in the artist's work from drawing to painting — an artist's book, and an important site - specific work realized directly on the walls of the Collezione during Rabbia's residence.

On one side of this canvas, which sticks out of the wall like something from a surrealist painting, bears on one side one of the blurry, photographic images that Richter specialised in during the early «60On one side of this canvas, which sticks out of the wall like something from a surrealist painting, bears on one side one of the blurry, photographic images that Richter specialised in during the early «60on one side one of the blurry, photographic images that Richter specialised in during the early «60s.

Departing from previous painting - dense retrospectives of Chicago - based artist Lee Godie's work, Intuit's recent exhibition — though it did include several strong canvases — focused instead on some fifty of the several hundred self - portraits that Godie took in public photo booths during the 1970s and»80s.

The paintings are all small works on canvas of views that Alfred found during his travels.

This exhibition presented a vast array of Wu's output: cartoon drawings for newspapers, book cover designs, sketches and portrait paintings made during his five years of study in Paris; poetry, calligraphy, watercolour paintings and oils on canvas, mostly arranged chronologically and organized by media.

During the 1950s, Frankenthaler developed that influential technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

Adnan continued to paint during this time, but it's only on the past several years that her work on the canvas has become recognized alongside her writing.

During the 1960s, Pousette - Dart began to work on the creation of grand size paintings utilizing the impasto technique, by combining layers of thickly applied paint over the canvas.

The installation represented a room filled with shaped canvases, including his Angular and Bi-angolari series he started working on during that same decade, all painted with pristine white only.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

During a painting workshop in Saskatchewan Canada in 1981, Bannard developed a kind of gel «drawing» on canvas, in which he applied his paint on large sheets of fiberglass.

Fields Of Play is large Oil on canvas painting, which I worked on during the rainy season here in California.

During his stay in Africa, Ofili began to incorporate lumps of elephant dung into his canvases - both as compositional elements and as supports on which to display his paintings.

During this time he became drawn to the primitivism of tribal art, and developed a style of gestural painting marked by thin white lines on dark canvases.

David Hancock «Siamese Dream» Acrylic on Canvas, 19 ′ x 4 ′ ft, 2001 David Hancock David Hancock lives and works in Manchester and gained great public attention during the John Moores 21 Contemporary painting exhibition and 2000's BP Portrait Award at the National Portrait Gallery.

A series of lectures during the exhibition will shed light on Pousette - Dart's innovation in painting by contextualizing the work in oil and acrylic on canvas within technological developments of modern media.

When, during the production of the wall painting, black acrylic dust spread around the room, Czerlitzki caught it on white - primed canvases, thus generating the so - termed ««dust pieces» out of a side - product of the wall - hung work.

In the new YARD paintings at Gagosian Rue de Ponthieu, Ruby uses rollers and brooms to spread a soft palette of red, blue, green, and purple acrylic paints over unprimed canvases laid directly on the studio ground; incidental debris and textures beneath the canvas emerge as impressions during the frottage process.

During her life in Upper Manhattan, Neel painted friends, neighbours, artists, and people of color that often did not receive recognition on or off canvas.

This presentation focuses on three significant and distinctive canvases produced during these formative early years in New York: the Map painting «In The Family G.E.P.» (1968 — 70); an enigmatic portrait of Bowling's two young sons, «End Run» (1969); and «For Edvins» (1972 — 73), a pure and expressive abstraction.

During this event — while Tinguely unleashed a mechanized sculpture doing a striptease, a hired marksman performed one of Saint Phalle's shot paintings, and Tudor played Cage's Variations II — Rauschenberg worked on a painting with contact microphones attached to the canvas, never revealing the final work to the audience.36

As she worked, Frankenthaler was aware that the image evolving on her canvas bore a certain resemblance to a group of watercolors she had painted from nature during her visit to Nova Scotia («The landscapes were in my arms as I did it,» she has said), but she also knew that it marked a departure from anything she had ever done before.

He was allegedly introduced to the technique of painting - pouring in 1936 at a New York workshop run by the Mexican painter David Alfaro Siqueiros (1896 - 1974), famous for his large - scale Mexican murals, and later used it on some of his canvases during the early 1940s.

In Morning Sky (1962), a painting made during one of Avery's summers spent in Provincetown in the company of Mark Rothko, Barnett Newman and Adolph Gottlieb, the nature of Avery's influence on the younger painters is clear, as beach and sea represented on the canvas resolve into broad fields of colour, with a muted pink butting onto a serenely stormy dark blue.

Most of all, however, Lassnig was inspired by the painterly gesture of abstract expressionism and art informel, with a focus on the connection between artist and canvas during the process of painting, writing in 1951: «The rhythm of painting should be like that of breathing when life is in the act of choking us.»