Sentences with phrase «over the canvas surface»

This example, searching and free - flowing, finds Wool stretching the form over the canvas surface and, in the process, expanding and anchoring the painting's composition.

For Louis, the Veil paintings represented a complete artistic breakthrough; fluid waves of pigment wash over the canvas surface, as Greenberg describes how, «Louis spills his paint on unsized and unprimed cotton duck canvas, leaving the pigment almost everywhere thin enough, no matter how many different veils of it are superimposed, for the eye to sense the threadedness and wovenness of the fabric underneath.

Not exact matches

One advantage: If you go over a big bump, your head hits the canvas roof — a more forgiving surface than the glass hatch over the hardtop's backseat.

These can be summarized as: the way his picture moves towards the edge of the canvas in centrifugal waves filling to the brim; his completely impulsive use of pigment as a material, generally thick, slow - flowing, viscous, with a sensual attitude toward it, as if it were the primordial material, with deep and vibratory color; the absence of any effacing of the tracks bearing the imprint of the energy passing over the surface.

In her introduction Samet notes: «Although Gilliam is best known for his «Drape» paintings — unstretched canvases stained in vibrant pigments and extended into three - dimensional space — the surfaces of the paintings he has made over a fifty - plus - year career are actually quite diverse.

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.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

At a slight angle to those, some of Bernard Frize's earliest abstract works were made peeled off the coloured skins from pots of paint left open in the studio, and applying them over the surface of the canvas.

Over time, he developed his signature color palette in which tones vary widely but hues are restricted, and the surfaces of his canvases became increasingly textured.

Her «thing» 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.

Text or language characters which constitute the rudiments of abbreviated communication — emoticons, x's, and dots of varying size and scale — stretch over the entirety of the canvas, commingling digital lexicons with the painted surface.

Utilizing smooth primed canvases, Steir's intention is that the pigments «slide» over the surface, creating a fluid and seemingly organic effect.

Geva primarily uses bold gestures to propel and push paint over the surface of multilayered canvases, sometimes done in diptychs, which often include recognizable images like birds, tree branches, and flowers.

Echoing the original blotted - line method that Warhol had applied in his drawings of the 1950s and early 60s, his new mirrored abstractions were achieved through a fundamental print making technique, folding an empty canvas over a freshly painted surface.

By favouring the aluminium surface as his canvas over more traditional means, Cánovas emphasises the tangible nature of each piece, highlighting its place outside that of the conventional printed paper photograph and emphasising its status as an art object in and of itself.

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.

An enduring feature of Kusama's unique art is the intricate lattice of paint that covers the surface of her Infinity Net canvases, the negative spaces between the individual loops of these all - over patterns emerging as delicate polka dots.

He then tipped, bent, or folded the canvas or its support to control how the color moved over the surface.

An early untitled oil on canvas from 1966 shows an obsessive daubing of paint all over the work's surface.

In fact, things become clearer when we find out that the artist made it by having a performance with the canvas, as he danced around it and splashed paint all over its surface as if it was all some kind of a ritual.

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

Adhering the book pages to the canvas happened first, then Ala un-stretched the piece and executed an archival pigment print over the surface of the book pages — the blue galactic scene in the shape of the star.

Jones favors lines, circles, squares, and ovals formed by shaped canvases that he carves, cuts, etches, and paints like a craftsman, while Slater layers the paint over the surface resulting in images that are never flat, line - driven, or hard - edge.

A reviewer for the Los Angeles Times described his first exhibition of large paintings with the gallery: «He favors a flamelike turbulence which may erupt in isolated swirls or burst in sheets of color over the surface of the canvas.»

He removes all non-landscape imagery and text from the source material, stretches canvas over the surface and hangs the completed boxes on the wall.

In the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the wall.

Over the course of seven years, she built up the surface of the painting using a mixture of oil, primer, and mica to create an abstract, topographical landscape at the center of which was a beaming, white focal point rising eight inches above the surface of the canvas.

While there is no one prescribed style, Abstract Expressionist canvases are known for loose brushwork, all - over composition, an emphasis on surface rather than depth, and a grand sense of scale.

A monumental monochromatic field of subdued color fulfills the role of straight - man to Prince's comic texts, sometimes presented plain and direct, sometime articulated in ghostly printed letters that seem to wax and wane in intensity across the canvas, and in the case of Untitled (Check Painting) # 13, text that has a material quality — painted over literal paper checks embedded into the canvas surface.

In other works, Smith's dots have transformed into drips, falling over the surfaces of the canvases to create veils of color that intermingle with each other.

Sometimes Wood also experiments with the idea of collage, superimposing objects over others or simply playing with the distortion of images by creating the illusion of separate or fragmented painted canvas surfaces brought together in one, such as in Still Life Collage, 2015.

Urdarianu uses a muted palette, with warm - colored backgrounds visible through a series of light - colored surface layers conveying the sense that time has passed over the canvas.

As usual she simply wanted to put brush to canvas, leaving a certain mark in a certain color and proceeding from one stroke to the next, beside or over its predecessor, until the entire surface was covered to her liking, in a process both devotional and workmanlike.

One of the techniques that Tyson uses is to paint over an existing work or on a blank canvas, and then scrape paint over the surface.

Sometimes she paints over vast tracts of the canvas; other times there's a pentimento or perhaps an image intended to be visible beneath the surface.

Painstakingly crafted and layered, each canvas is sprayed, stained, or hand - painted over a period of months to create a smooth surface that both preserves a satisfying materiality and exhibits a depth of pigment that is at once ethereal, resonant, and full.

Soft lines are produced through frottage, a technique for which the artist rubs pastel on to an unstretched canvas that has been placed over a tangle of cord or string, then often completes a work by adding pigment to the surface.

Lines meander geometrically over the surface, occasionally from canvas to canvas, as many works are composed of multiple units.

But juror Godfrey Worsdale, director of Baltic, said her work could be compared to that of the abstract expressionists, the artist hurling cosmetic products across a surface just as Jackson Pollock cast paint over canvas.

The surface of each painting is an all - over glossy, impenetrable substance — a mirrored screen that camouflages a handcrafted construction, from visible canvas edges, to the elegant wood structure.

Auerbach eschews pigment altogether, weaving strips of canvas over stretcher bars to form intricately patterned and highly textured surfaces.

In the former, Snyder has built up her oil and acrylic on canvas with paper mache, fabric, pastel, graphite, glitter, dirt, and straw, resulting in a three - dimensional impastoed surface that begs to be touched, and that features the word «requiem» (twice) in red paint and glitter; the latter features an all - over composition with lusciously applied pastel - colored paint in big, sweeping gestures, combined with repetitive circular and floral forms.

Although Kusama desired to break free from Abstract Expressionism's aesthetic, she still incorporated the all - over style into her own work, commonly covering the entire surface of the canvas, and later entire objects and rooms.

An intricate network of lines explodes across the full expanse of the over ten metre wide canvas, breaking the gleaming silver surface like cracks in the earth.

He went from a painted surface with an all - over pattern to cutting up canvas with the all - over pattern and gluing it back together.

In the transfer to the stretcher, these graphic fragments assume a waxy, spectral quality, alternatively hovering over the surface of the canvas and sinking some inches below it, as the slashes and unwoven sections compete to occupy the foreground.

Working spontaneously, in one sitting, Moskowitz affixed the discarded and discolored shades to his canvases with rabbit - skin glue mixed with pigment over the surface of the canvas, leaving visible brush strokes and chance drips and splatters.

Mesmerising and immersive, they are made up of thousands of tiny dots of paint, each individual and distinct, yet together forming constellations that float over their surfaces, whether canvas or paper.

He soon regarded such aesthetic freedom with suspicion, however, and began to paint more premeditated pieces, such as Number 9: In Praise of Gertrude Stein (1950), in which calligraphic and typographic shapes form a floating, but controlled, network over the entire surface of the canvas.