Sentences with phrase «on edges of canvas»

Stamos's work, Infinity Field, Lefkada Series # 8 (1978) explores the expansiveness of the color, where broad areas of the canvas are covered by swathes of red, broken only by thin lines on the edges of the canvas.

For this new series, titled «Mimbres,» she picks up on her studies of tiles while also injecting this new cultural reference, painting the geometric Mimbre designs on the edges of the canvases.

Not exact matches

small tin buckets easy to find at paint supply stores small cardboard paint buckets also at paint supply stores; paint or cover with paper chinese food boxes most craft stores have these in a variety of colors plain paper sack with a drawing or stickers on the front and tied with a ribbon or a cardstock header stapling the bag closed plastic beach buckets check the dollar store for the best price terra cotta flower pots perfect for a garden theme; the kids can paint these for a party craft too fabric or felt bags with or without a drawstring large tin cans of course, make sure the edges are not sharp mini canvas totes bought or homemade cardboard boxes such as a cereal box, cut down and covered with paper or painted; add a ribbon, string or wire handle baskets lots of inexpensive ones available at thrift stores popcorn boxes available at party supply stores Helpful Tips:

Then I just hot glued the pieces right onto the canvas (make sure all the edges are glued down nice and tight seeing how there is going to be a lot of jumping on it)

The canvas sheet and a single rough wool coverlet completed the picture of a family on the edge of poverty.

A shadow appeared on the awnings further up the land, gliding across each rectangle of canvas towards my table, sinking in the sag, rising again at the edge, and moving on to the next with a flicker of dislocation, then gliding onwards.

Tom Post's large abstract canvases verge on the edge of narration with their dramatic movement and form.

It's the pose, the composition, the colour, the light on the face, the untold narrative and the suggestion of movement in the figure, how the figure reaches beyond the edges of the canvas; the whole kit and caboodle.

Within a few years the materiality of oil paint takes on a more central role in his work when he begins to make paintings by depositing small amounts of liquid paint onto his canvases and tilting them this way and that to direct the paint toward the edges of some feint pencil markings.

The «Protractor» series of the late 1960s saw him paint hard - edged rainbows of color on asymmetrically combined, broadly curved canvases, forever leaving behind the rectangular frame.

Those curved areas may look back to Henri Matisse as well, pressed against a painting's edge like the leg and torso of a grand nude — even as that very edge takes on a touch of bare canvas that seems to change its dimensions and to divide a painting into two slightly misaligned panels.

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.

They also retreat from the edges of the canvas, leaving nothing but white, while works on paper resemble cels in an abstract comic strip of indecipherable signs.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

The creator of panoramic vistas stretching to the very edge of a canvas, he showed on paper a fondness for the largest mountain, tree, or rock at a compositional dead center.

The work proceeds to step entirely outside of their final iteration by exposing uncontrolled stains and drips of bright green and red paint on the canvas» thick edges.

The cross formed by the edges of the canvases also offers a subtle play on the relation between surface and object.

On the positive side, Peter Lanyon, who was killed in a gliding accident in 1964, isn't around to mind, and there's something to be said for being able to look from one of his lyrical canvases straight out at the surf crashing on Porthmeor Beach and the edge of the windswept, ancient landscape Lanyon regarded as his personal CalvarOn the positive side, Peter Lanyon, who was killed in a gliding accident in 1964, isn't around to mind, and there's something to be said for being able to look from one of his lyrical canvases straight out at the surf crashing on Porthmeor Beach and the edge of the windswept, ancient landscape Lanyon regarded as his personal Calvaron Porthmeor Beach and the edge of the windswept, ancient landscape Lanyon regarded as his personal Calvary.

Within these years, Boyd worked rigorously on a series of square canvases that explored space and light through the use of hard edges and contrasting gradients.

In «Blue - Green Bow Street» (2013), a thin band of largely unpainted canvas runs along the top and left edge, with traces of magenta and green visible on the primed canvas.

Without pedantry, she has examined in turn the various ways of making marks on canvas in her inimitable, straight - edged, linear style.

The red thumbprints visible in this composite are hidden under the loose canvas on the tacking edges of the panels in White Painting [three panel].

And then there are hard - edged paintings in which space and colour are flat, flat, flat and the canvas plays tricks on your eyes, forming faces made from collections of interchangeable symbols such as smoke, fire, alligators, matches, razor blades, cigarettes and the letter «z».

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

At Jack Shainman Gallery, the audience will find some of the most recent examples of Abney's signature visual language in which hard - edged and resolute figures from an ample source of inspirations gather on canvases within a buoyant harmony of disarray.

Ranging from Abstract Expressionist gestures in the 1950s to clean - edged discrete pools of chroma on white fields in the 1960s, Dzubas then amassed dynamic shapes of dramatic coloration that exploded on a monumental scale in canvases during the 1970s and 1980s.

Since then and throughout all the years of the 1950s, her artworks showed tendencies to be highly focused on the center, meaning that the majority of main pictorial incidents took place in the middle of the canvas, while the edges were of little consequence to the composition as a whole.

He put raw, unstretched canvas on the floor and dripped, threw, stained and brushed paint onto and beyond the edge of the canvas.

Thomas Downing, Fahrenheit, c. 1961 Acrylic on canvas, 901⁄2 x 87 inches October 4 — December 1, 2007 Gary Snyder's first year of programming will focus on Hard - Edge Abstraction circa 1955 — 1975.

The lateral thin and thick bands of black ink of the present work and their placement in relation to the edges are mirrored in the canvases, with subsequent works on paper advancing this proposition by manipulating the number and width of the markings.

Lines / Edges: Frank Stella on Paper features a range of Stella's experiments on paper including early translations of his Black series and shaped canvases, magnificent color woodcuts and screen prints from the 1980s, and the Moby Dick Deckle Edges, an impressive nine work grouping of large - scale prints from the early 1990s based on Herman Melville's Moby Dick.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

Heron himself made hundreds of small gouaches, deploying a range of colours brushed on with tiny Chinese watercolour brushes - even on the 15ft canvases - originally in adjacent colour areas pushing up to a fuzzy separating edge, though later the edge became a clean break (Heron called himself at this period a «wobbly, hard - edge painter»).

In life, they rely less on brightness than intensity — and the raw edge of torn canvas.

The focus and precision of these small patches and plots fades as the eye works toward the edges of the canvas, akin to what the human eye does when focusing on one area of landscape: The edges blur and become mere suggestions of forms.

The show also includes graphite works on paper and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or white surfaces.

His career thrived on the claims for «action painting» by Harold Rosenberg, just when Clement Greenberg in his formalism, Jackson Pollock in his dance around the edge of the canvas, and Ad Reinhardt in his refusal were beginning to dominate the critical debate.

Bleckner, of course, has been mining the territory mapped by tragic loss and fleeting beauty throughout his career, and his waxy new works ---- clock faces overlaid by bright floral motifs on canvas and paper ---- continue in this vein and show him in peak form as he returns to gestural painting from recent harder - edged, airbrushed works.

Dimitri Kozyrev, Last One 3, 2010 Acrylic on canvas 84 x 72 inches March 10 — April 1, 2011 «Now, however, I maintain that just as the concept of the military avant - garde has been «lost,» because of changes in methods of warfare, the avant - garde in the contemporary art world, has also lost its edge.»

Baldessari then names only one of his two artistic «collaborators» on each canvas's lower edge, such as... AND MANET or... AND DUCHAMP.

Ryman thickly applied oil to a primed, stretched canvas creating the composition primarily from the varying texture of the paint and anchoring it with an accent of black along the top and an obscured orange rectangle on the right edge.

Continuing to develop drawn forms, the 1990s introduced outlined geometric forms more autonomously depicted on solidly - colored, shaped canvases: Attic Series III, Study (1990) places an ellipse inside of a parallelogram; Plane Figure Series A (1993) sets two ellipses within a two - color parallelogram; and Curved Plane / Figure VIII (Study)(1995) places two ellipses within a three - color half - circle, cut off a canvas truncated on its right edge.

In the early 60's, inspired by the work of senior painters like Piet Mondrian and Josef Albers, Jackson moved away from the gestural style that had marked his work of the» 50's, developing his signature style of austere, hard edged geometric compositions on square and diamond shaped canvases.

In others, the bouquets line the bottom edge of the canvas or paper, as if on a windowsill overlooking a beach or the sea stretching beyond.

She works on the floor or a tabletop, and the paint, responsive between the surface of the canvas and the pressure of the brush, bleeds and blots slightly at the edges, recording with expressive exactitude the process of its making.

He often empties out the middle of a piece and positions non-representational components as if he were a painter making marks on the left or right edges of a canvas.

While the paintings seem to push themselves outward off the edges of the canvas, the charcoal works on paper sit neatly within their confines.

Juxtaposing pieces of light - colored canvas allowed him to define the edges of his forms and establish a sense of depth in largely white - on - white pictures.

In Ring Necks, Covering (2011), Rothenberg paints two doves at the edge of the canvas, perched on branches that extend into the picture plane, bisecting it diagonally.

He painted on enormous canvases so that the edge of the canvas was not within his peripheral vision and so he was not confined by the edge of the rectangle.