Sentences with phrase «over drip paintings»

The materiality of the colored medium (which Jackson Pollock had so recently exalted in his all - over drip paintings) became negated, literally fusing with the fibrous surface of the bare canvas support, which, in turn, became its own engaging compositional element.

The article featured his large - scale all - over drip paintings, and propelled him to fame.

«Pollock's extraordinary, still controversial black paintings of 1951 finally get the attention they deserve; they prove to be just as radical as his earlier, more celebrated all - over drip paintings, and speak even more to our own time as well,» said John Elderfield, Chief Curator Emeritus of Painting and Sculpture, Museum of Modern Art.

Not exact matches

For one project, a crew member dripped paint all over someone's roof, and some other problems emerged.

Secondly, I use the hand - painting itechnique, in which the yarn is spread out on cling film and dye dripped over it.

Spread newspaper over your table and floor to protect them from paint drippings, then pour some paint into a tray or plate.

Moose sticks his mug out of his window, his slobber dripping all over the Fiat's orange paint, as we head back toward the highway.

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Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

A number of key works have been recreated inside the gallery and one wall has been given over to a new painting, Muddy Water Falls (2015), using mud from the River Avon: the top half, a dynamic hand - and finger - painted mural; the bottom half, a flurry of drips, splashes and smears, created by gravity, reflecting the constant redistribution of this mud in the tidal river of its origin.

Her politics changed from being subtle — the way a rough, concrete shell with rosy insides hints at a heartbroken landscape — to hitting the viewer over the head with dripping red paint, photos of lower Manhattan covered in dust, and titles like «Oil XI.»

Someday, for instance, I'd like to see Janet Sobel's 1944 drip paintings — admired by Pollock and which Greenberg would later cite as the first instance of» all - over» painting — placed within an Abstract Expressionist context.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Next time you look at the dripped paintings of Jackson Pollock, understand it as a result of the all - over technique of Lee Krasner.

Later, one can look at Jackson Pollock and see all - over painting or the drips, action or abstraction.

Leaning over unstretched canvas laid flat on the ground, the American artist experimented with the movement, speed, density, and height of paint in his drip technique.

Pollock is usually remembered for his «all over» drip paintings from the late 1940s, which helped define the radical break from what was then considered advanced painting.

Turning Western tradition on its head by splattering and dripping paint onto canvases laid flat on the studio floor, Pollock's artwork favoured process over subject matter.

Elegant creatures can - can past bodies painted black and left for dead, while the artist herself drips over the corpses in a gesture between blood letting and Abstract Expressionism.

The exhibition will first introduce audiences to Pollock's work via a selection of his classic drip paintings made between 1947 and 1950, including Number 2, 1950, a work from the Harvard Art Museums» collection that has not traveled in over 20 years.

Still, the rich, drip - streaked marks of Guirguis» paintings, and the soft glow of vermilion that emanates from behind their intricately cut surfaces, suggest an alternate understanding that prioritizes intuition, embodiment, and affect over official narratives.

When he returned to the canvas, he ultimately chose to paint it black again.16 Today, the white drips are no longer visible and the painting appears less matte overall, having become glossier and more lustrous over time.

Pollock used to drip and pour paint all over it, moving to the beat of his own inner rhythm, occasionally using towels and sticks to help him complete the painting.

Rosemary pours and drips thick gloss paint (and the very gendered material of car paint) over slick fashion advertising campaigns, confounding the viewer's preconceived notions of what beauty is.

The weave spreads loosely but thoroughly, like an «all - over» painting,» gathering to accentuate a few central horizontals and verticals, before finding thicker nodes almost like drips.

For all the surprise it caused over the Atlantic, abstract expressionism was not the start of something, but rather a beautiful ending, the epic finale of a long tradition of Romantic nature painting, gone up in the fireworks of Newman's zips, Pollock's drips and the smoky miasma of Rothko's colour fields.

Over the course of her career, Smith has constantly pushed the physical boundaries of painting, through the arduous building and layering of drips, drops, and strokes.

Over the course of her career, Smith has constantly pushed the physical boundaries of painting, through the arduous building and layering of drips and drops.

Mary Heilmann painted spit bite acid, tipping and tilting the plate, to create a large block of color dripping over a grid of drypoint lines that recede into deep space.

However, within 2 or 3 days, I was dripping paint all over my old paintings.

It's fascinating to see the diversity in Foulkes's complex formal language from his signature rag technique using rags to apply and subtract paint to the canvas in a way that anthropomorphizes the rock paintings into denim jean paintings, to the use of drips on the canvases imitating stains of a photograph, or over painting on top of collaged postcards.

The drips and washes that so vividly recall the liquid state of the paint as it leaves the brush are most aptly visible in the perfect summer painting, Pool, which uses four panels of Dura - lar paper (like vellum) on which she has drawn more than painted the delicate tracery of plants, layered over a firm painting of a pool edged in a blue crosshatch pattern, the most representational moment in the show.

With high - energy and the physicality of throwing string gel paint over a meticulous base, it's a rush that is visible in all of her bold colours, expressive drips and often off - kilter subject matter.

Multicolored paint covered the ground and raced up across the canvases onto walls before dripping back down into the soil... As I very carefully picked my way over the uneven ground, my senses were literally on overdrive.

They seem to be an attempt at extreme synthesis rather than meticulous refinement; a synthesis of personal obsessive renderings of the fragmented body, that had always lay hidden in the «all - over» works, combined with, and intensified by, the technical innovations he had made while working upon the drip - based paintings.»

The gallery is a pitched battle about painting versus drawing, figure - ground versus all - over composition; stained versus impastoed surfaces; mythic versus biomorphic forms; and who dripped first.

«Mural» set the precedent for the scale of Pollock's celebrated all - over drip - paintings (with their even distribution of compositional interest across an entire large surface), encouraged by a February 1947 review by Clement Greenberg in The Nation, where he wrote: «Pollock points a way beyond the easel, beyond the mobile, framed picture, to the mural.»

These wavering, evanescent structures, with their intimations of the cosmos, echo with surprising directness paintings from the same period, when the all - over composition of Jackson Pollock's drip paintings inspired the development of a unified, undifferentiated image in the work of a number of artists.

The Abstract Expressionist, Jackson Pollock, is most well - known for his large - scale «all - over» paintings that he painted by laying raw canvases on the floor and pouring house paint directly from cans or dripping it from sticks while engaged in almost dance - like rhythmical movement around the canvas.

A brush turns those drips into a fine spray, a final layering over painting's larger outlines.

Take the painting of mine shown here, done in sunlight, I'm trying to express my enjoyment of the colors and energy of the light that seemingly drips over everything.

In the mid-1960s he used tubes of paint, dripping color directly onto the canvas, and his earlier «Cachets,» or rubber stamp prints, suggest a mechanical version of all - over paintings.

Over the next seven years, working with the canvas laid on the floor and dripping or pouring paint, or using sticks, trowels or paint thickened with sand or crushed glass, Pollock produced some of the greatest Abstract Expressionism works ever made.

«Although de Kooning and Pollock made use of chance effects,» notes Calvin Tomkins in his book Off the Wall, «letting the paint run and drip in their spontaneous encounters with the canvas, they were not about to hand over the whole process to accident.»

This was followed by a rare Barnett Newman «zip» painting, which sold for $ 22.5 million, and the first large Jackson Pollock drip painting at auction for over 20 years, which sold for $ 23 million — both records.

Within the genre of abstract expressionist painting the purest form of gestural art can be seen in Jackson Pollock's Action Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash»painting the purest form of gestural art can be seen in Jackson Pollock's Action Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash»Painting - in which paint is applied all - over a horizontal canvas using a «drip, dribble and splash» method.

They flick, pour and drip paint from brushes and sticks and allow the paint to run over the paper.

The result was the Little Image Series — a more personal response to Pollock's all - over canvases done prior to the drip paintings.

Over fteen years later, she has returned to her original medium, which recalls the rhythmic chaos of Jackson Pollock's drip paintings: the long, liquid lines and gurative blobs evolving into anthropomorphic trees, owers or people.

Marcus integrated a large number of the central developments of abstract painting into his work over the years, including large - scale calligraphic gestures and the employment of chance - elements, particularly drip - motifs.