Sentences with phrase «on the canvas working from»

The exhibition is survey of the artist's oil on canvas works from the late 1990s through 2014, including seascapes, landscapes, paintings of oases inside New York City's Central Park and several portraits of family members and friends.

Not exact matches

Over the last few years, Adams has been working on a series of paintings that feature bold chevrons running across the canvas, or diagonal lines radiating out from a triangle anchored to the bottom of the canvas.

The high - quality photos on canvas will give dad a stunning work of art to remember his favorite moments from family vacations to sporting events with the guys.

Reason: Director Doremus showed what he can express about the power of a relationship with Like Crazy, which garnered emotional performances from his young leads working on a very intimate canvas.

Jonny Greenwood: The visual side of Radiohead comes from Thom and [artist] Stanley Donwood working together while we're recording — often in the same room — on canvas, paper, computers.

Once we had almost finished our unit, students began working on their own art projects on canvas, supported in part through a grant from the Chicago Foundation for Education.

David works in a wide variety of mixed media ranging from oil on canvas to digital media.

The show features works by Charlene Broudy who finds inspiration in the vibrant colors of Costa Rica, new works by Carolyn Fox featuring luxuriously wide flowing lines suggesting rock, water, sand and sky, and Steven Gilbar, a self - taught artist who experiments with mixed media and collage on paper and canvas, drawing from this histories of both mediums.

Sara, recently returning to painting, from years as a fiber - artist, works with mixed media on canvas, in her Riviera studio.

Wolf - Tasker's canvases are on display throughout the property as are works by other artists from the family's private collection.

Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board.

The unconscious aura of titillation that arises from a visual representation of an aspiring woman artist in the mid-19th century, Emily Mary Osborne's heartfelt painting, Nameless and Friendless, 1857, a canvas representing a poor but lovely and respectable young girl at a London art dealer, nervously awaiting the verdict of the pompous proprietor about the worth of her canvases while two ogling «art lovers» look on, is really not too different in its underlying assumptions from an overtly salacious work like Bompard's Debut of the Model.

Similarly to her canvases, the works on paper draw inspiration from French modernism, which Mitchell saw firsthand when she moved to Paris in 1959.

Working with a hard charcoal on oil primed, fine - weave canvas, it is easy to lift the charcoal from the surface.

the interview was very informative and it makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will work out sales special interest groups in other social networks this is just another journey a new color on the canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints of my work all with in a week end among friends I have now professionally digitized my work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all

Rose Sharp writes that Goodman's oeuvre «is a little bit difficult to sum up, perhaps, because over the course of this long and productive career, her creative output has vacillated between painting and drawing (with forays into three - dimensional constructions); smooth surfaces and chaotic buildup on canvas; and intimate small - scale works and jaw - dropping large paintings that grab your eye from across the room.

Ranging from restrained blue marks on a raw canvas ground to barely visible foot print traces on a naked canvas, his work draws on the performative «aura» of these marks and is fueled by a self - generated mythology centered on his studio practice and his infamous foot fetish.

The show consists of three floors: new works in black acrylic on canvas from 2012 and 2013 on the first two floors and «historical» works from the 1950s and 1960s, when Soulages first gained fame in the USA, on the third floor.

A huge black canvas on which moonlit figures on a beach await execution is the centrepiece of a new exhibition of works by Luc Tuymans at David Zwirner gallery, London, from Friday January 30 to Thursday April 2 (all prices on request).

He infuses these works with a dense multi-layered mythology transforming paint on canvas or paper into living, breathing creatures from another dimension that continue to mutate.

Davis will present works from his most recent series, taking his signature street technique and translating it onto canvas to create a post-pop twist on Op Art.

The show also includes works on canvas from the 1989 exhibition Trip - Tics in which Gurrola made his own versions of Philip Guston paintings.

About 65 objects created from 2011 to the present will be featured including figurative works, text - based wall hangings, a significant selection of beaded punching bags, painted works on rawhide and canvas, and video.

Cheim & Read is pleased to announce Joan Mitchell: Drawing into Painting, a survey of works on canvas and paper from 1958 through 1992, the year of the artist's death.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

Michael Raedecker has worked from this bland utopia for years, picking it out in thread on monochromatic canvases.

Golub experimented with scale, and the works assembled for this exhibition range in size from the smaller works on paper to monumental, unstretched canvases that extended from floor to ceiling at the Serpentine Gallery.

«Erik den Breejen, the guy who paints images of musicians using lyrics from their songs, presented three small studies on canvas along with some larger work @ St Nicholas Studios.»

We are pleased to announce that a work by John Sonsini — Byron & Ramiro, 2008, Acrylic on canvas — is presently installed in Human Interest: Portraits from the Whitney's Collection, on view at the Whitney Museum of American Art through 12 February 2017.

The colour fields are inextricably linked to her black and white canvases, the subjects of the latter — sparingly painted so as to retain the appearance of the canvas weave — resulting from internet searches that occur to her whilst working on the abstracts.

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.

The show presented a new body of work — formal studies of the female form, including large, expressive line paintings of the body rendered in blue paint on raw canvas — that marked a radical departure from Emin's vernacular up until that moment.

Medrie MacPhee, mixed media on canvas, 2013 From an exhibition of the work of Medrie MacPhee at Barbara Edwards Contemporary in Calgary.

The works from 1967 to 1971 feature acrylic on mylar and canvas and feature both subtle and more obvious female symbols — Keyhole and Side OX feature distinct hole shapes, while the disjointed geometric forms in Horizontal Woman No. 2 may only reveal a woman to viewers upon a close look.

The show's oil - on - canvas paintings from the late 1940s and 1950s demonstrate the wide reach of the New York School — works by Jack Jefferson, Deborah Remington, Ward Jackson, Louis Ribak, Lilly Fenichel, and Bea Mandelman — reprised here by the recent mythic narratives (2013) of Eugene Newmann.

«Of Earth and Sky» includes paintings on linen canvas and on wood panel — ranging in size from 54 x 50 inches to as small as 8 x 10 inches — along with a suite of works on paper.

Luiz Zerbini is one of Brazil's most established contemporary artists, known for his vivid works on canvas which draw on a range of themes from the abstract to landscapes, cityscapes, and domestic scenes using a range of techniques and styles.

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

The new work, on canvas, board and paper, range from postcard size pieces to large scale paintings, installed in ways which recall the story boards used in television and film production.

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.

Executed only a few months before his death, the work shows Warhol in the signature peroxide fright wig of his late career, staring starkly out from the canvas in an emotionally arresting vision that confronts the reality of time head on.

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 presentation will feature a selection of rarely shown early paintings, iconic canvases from Albers's Homage to the Square and Variant / Adobe series, and works on paper.

This major solo exhibition will feature several new ballpoint works including two very large - scale works on canvas and will be presented at the gallery's monumental project space in the Railyard District across from SITE Santa Fe.

The exhibition at Lisson Gallery includes Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

The dark, murky canvases and expressive abstract bronzes are drawn partly from Mr. Kirkeby's studies in the 1960s, when he traveled in Greenland and the Arctic while working on a master's degree in geology.

Their work spans an extraordinary range of styles and techniques, from abstraction to figuration, minimalism to magical realism, and straight oil - on - canvas to mixed - media and installation based painting.

Large - scale works made from layers of salvaged paper, bound together on canvas with a coat of shellac.

A painting may begin in a traditional sense, with a few strokes on canvas, then become whitewashed, sanded, thrown on the ground to collect spills from another project, whitewashed again, and so on, up to at most 15 times before a surface is built, and the work is deemed finished.