Sentences with phrase «on canvas paintings often»

A painter from Serbia, Milan Hrnjazovic is known for his oil on canvas paintings often depicting female figures.

Mainly produced in his home studio in Brooklyn where he has lived since the mid-1960s, his acrylic on canvas paintings often appear to vibrate and swirl with emotion, still full of that expressionistic vigor from the days of his youth.

Not exact matches

Mendocino's dramatic location is a natural magnet for artists, and you can often see them, easels propped and paint palettes out, capturing the scene on their canvases.

I paint for the love of it and I often impress myself with the results on the canvas.

Soutine's thickly painted canvases, which often harness the physical properties of his medium to depict carnage and meat, are currently on view at the Jewish Museum in New York, in a survey aptly titled «Flesh.»

Williams works for the show were drawn on a computer and printed on canvas, then stretched, and often painted some more.

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

Domenick's work also focuses on mark - making of all kinds, from the line of a pen to the scratches in a linoleum countertop, a material Domenick often uses as a canvas in his object - like paintings.

As the term says for itself, Action Painting is a style used in painting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of thePainting is a style used in painting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of thepainting — a style that emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of the canvas.

Hoyland often made paintings from the inside, standing on the canvas and flinging paint around, sometimes straight from the can, in the manner of Jackson Pollock, and here this practice is visible at its most emphatic.

Jamian Juliano - Villani creates often - gigantic paintings on canvas — she works with brush and airbrush to render scenes that are surreal hodgepodges, reminiscent of James Rosenquist or Peter Saul's bizarre compositions.

Between 1946 and 1950 he shuttled between Paris and Le Cannet on the Côte d'Azur, and then settled in Paris for almost a decade, painting often in monochrome like Jean Dubuffet, some of the canvases worked edge to edge with figures suggestive of the then recently discovered drawings of the Lascaux cavemen.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvases.

Each «Controlled Substance» painting such as «Morphine Sulphate» — often painted on irregularly shaped canvases — corresponds to a «Controlled Substance Key Paintingpainting such as «Morphine Sulphate» — often painted on irregularly shaped canvases — corresponds to a «Controlled Substance Key PaintingPainting».

She expresses her compassion in playful compositions of acrylic paint, mixed media and resin on canvas, balancing organic shapes, while often masterfully incorporating delicate ink drawings.

(He often pours resin on a canvas and then paints images over it, or douses fabrics with lacquer before sketching patterns on top of them.)

«His paintings are often short bursts of intense optical energy that fizz on the canvas, visual zaps that do not appear to interrogate much of what has gone on before in art history.»

Painted on canvas or wood supports these paintings explore an illusionary space, their seductive often highly tactile surface enhances the experience.

Her works are often created through the manipulation of the canvas: she pours paint directly on to the board, and, through movement, intuitively makes images.

Each «Controlled Substance» painting («Opium»)-- often painted on irregularly shaped canvases — corresponds to a «Controlled Substance Key Paintingpainting («Opium»)-- often painted on irregularly shaped canvases — corresponds to a «Controlled Substance Key PaintingPainting».

The problem persists in a lower key in other works of the period, including pictures made in 1953, while Diebenkorn was teaching in Illinois: the Urbana series, like the Albuquerque paintings, often gives the viewer the illusion of looking down at a distant landscape, as though from the harness of a parachute, rather than across at the matter on the canvas.

From her paintings on canvas to her room - sized installations, Yayoi Kusama creates vision - encompassing experiences, often through brightly colored and obsessively repeated motifs.

Patrick is well known for his large, high key colour canvases in acrylic, often in series and in a vertical format, but he also works on a smaller scale on paper, continually experimenting with small groups of paintings, acrylics on paper, collage, studies for larger paintings or prints, groups of etchings, silkscreen prints and woodcuts.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

More often, though, they appear indirectly at best, as in a tub of mist by Rafael Lozano - Hemmer with Max Estrella, folds in monochrome paintings by Karin Schneider with Lévy Gorvy, or blood red splashed on big canvases by Hermann Nitsch with Marc Straus.

Bradford (b. 1961)-- a Los Angeles — based artist and MacArthur Foundation «genius» award recipient — works in a variety of media but is best known for his often enormously scaled collages on canvas, which are akin to abstract paintings.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

His confederate, El Lissitzky, on the other hand, painted lively compositions with shapes that often seem to dance on the canvas, using precise balances of shapes and colors to tell spatial stories — for instance, suggesting that a static shape is actually in the process of falling, or rising — or even convey political propaganda.

IKB's visual impact comes from its heavy reliance on ultramarine, as well as Klein's often thick and textured application of paint to canvas.

His paintings are typically radically simplified abstract canvases, often based on the architecture and proportions of particular spaces.

Mitchell worked for the most part on large - scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

Often rendered on unusually shaped canvases with paint layered so thick it seems three - dimensional, Murray's decision to stick with painting an a time when it had largely fallen out of favor with modern artists — along with her choice to ignore many of painting's traditional boundaries and labels — helped her to stand out.

There followed a number of dark paintings with irregular or mottled surfaces, often with relief effects produced by placing pieces of fabric or newspaper on the canvas and then painting over them.

A multiple installation — often referred to as «white paintings» (1991) and so far rarely shown — can be seen on the main building's first floor: eleven white canvases that are embedded into the wall, virtually becoming one with it.

Her thinly painted canvases exploited a web of suggestive drawing, often on a large scale, in works that absorbed influences from English watercolours and Cézanne to Jackson Pollock.

Stained Color Field Abstraction was pioneered by Helen Frankenthaler.She diluted her paints and poured them onto canvases often lying on a floor or table.

Often integrating mixed media materials into her large - scale acrylic - on - canvas paintings, Parsons pushes the formal aspects of her practice just enough to let the luxuriant palette and seemingly, but not simply, whimsical content hold center stage, while proving that she has true skin in the game.

In Britain, where Tate Modern owns only one canvas, it often feels as if there are more biographies in print than paintings on permanent display.

Dripping, smearing, slathering, and flinging lots of paint on to the canvas (often an unprimed canvas) is another hallmark of this style of art.

Elizabeth Magill has developed a novel technique for her oil paintings, often starting off with a photographic image on the canvas, which she proceeds to work on, applying and scraping away layers of paint, until she achieves the mood in the painting which she is seeking.

In these playful, environmental works, such as spinach and banana (2013), Estna arranges her paintings in various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through them.

Drawing on inspirations ranging from Buddhism and American modernist painting to psychedelia and Amy Winehouse, Brooklyn - based painter Chris Martin (born 1954) «lets the paintings make themselves,» with often generously scaled canvases characterized by flat yet textured planes of bright, saturated color, frequently incorporating found materials and highly personal paper ephemera.

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

Though Ofili's detractors often state that he «splatters» [7] elephant dung on his pictures, this is inaccurate: he sometimes applies it directly to the canvas in the form of dried spherical lumps, and sometimes, in the same form, uses it as varnished foot - like supports on which the paintings stand.

Cordy Ryman often paints stripes on recycled wood, as if canvas had fallen away to leave only the stretcher that once gave it shape.

Humidity plays havoc with oil paints which sink faster into the canvas, but he seems to have shrugged and let them go their way, appearing thinner and even patchy on the surface of some canvases, often leaving the weave visible and occasional gaps between blocks of colour.

Her utterly gray - on - gray abstract paintings that are often - times in mammoth scales stem from singular efforts in which she meticulously plans her gestures and uninterruptedly applies onto canvas.

Working in oil on canvas, ink on paper, and mixed - media collage, Krasner produced works characterized by a sensuous painterly style, her large - scales collages often formed from the artist's own cut - up paintings and drawings.

Beginning with a rough sketch on bare canvas, he pinned segments of raw canvas cut by a razor onto a supporting canvas coated with a mixture of paint and glue, often shifting the collage sections to alter the formal relationships within the composition.

Working directly on canvas with no preparatory drawing, Essenhigh's imagery is often triggered by random associations to find the most «convenient» narrative, with entire paintings emerging from the mere hint of a shape.