Sentences with phrase «paint look aged»

This helps the paint look aged and give it a natural look!

Not exact matches

A coat of fresh paint can instantly breathe new life into your ageing fence and take your lawn from looking jaded to awe - inspiring.

If you want an aged look, but are using poly, you are going to want to use a glaze or brown paint instead to age it.

Instead of just revealing the Graphite underneath, sanding actually removed all of the layers of paint in some areas — which was okay because I wanted an aged look anyway.

I wanted a worn, aged look so I decided to layer different paint colors.

It looks like rings that were worn during the middle ages and Renaissance in paintings of people of that time.

When most of the paint was sanded off, I repainted the bottom half of the cabinet with white chalk paint and sanded random edges to make it look aged.

The wet paint + the wet wax + the wiping creates a lovely aged look with lots of splotches and smears — just what I was going for.

When I decided to do a makeover on my mantel, I knew I wanted a paint that I could wax over for an aged look.

You do a fantastic job painting and creating authentic looking aged pieces!

When the paint was dry, I distressed them to give a more aged look to keep in line with the rest of the piece.

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

I love what chalk paint does for the finish even if you are not going to create an ages looking piece.

I enjoy NASCAR I also like to draw and paint and sew I am looking for young honest Caucasian guys between the ages of 21 to 45 and who can look past my chair and just to enjoy life with me

I love to cook... I love all music and movies, I also come from a huge family and I love it... I love to paint and I love the beach... I look younger then my age but yes I just turned 49 so I'm just getting used to saying that age... I work as a PCA...

There's a fantastic new coat of paint on this aging»80s muscle car, thus the subtitle, but every curve has that old familiar look and feel.

RARE CANADIAN GMC MODEL 9314 SHORT BED STEP SIDE RESTO / MOD TRUCK, 10 YEAR OLD FRAME OFF RESTORATION, PAINT & BODY SHOW THEIR AGE, BUT STILL AN AMAZING LOOKING TRUCK, FULL SIZE CHEVY BLAZER FRAME & SUSPENSION, 4» LOWERED, COMPLETE WITH POWER DISC BRAKES - POWER STEERING - SWAY BAR - HEAVY DUTY DIFFERENTIAL / / / / / / CHEVY 350 V8, EDELBROCK ALUMINUM INTAKE & CARBURETOR, FUEL TANK NOT IN CAB REAR BOTTOM OF BED CUSTOM INSTALLATION, HEI ELECTRONIC IGNITION, HI TORQUE MINI STARTER, LONG TUBE HEADERS WITH FLO MASTER MUFFLERS, FULL EXHAUST, 9.0: 1 COMPRESSION FOR RELIABILITY WITH REGULAR FUEL & NO TEMPERATURE ISSUE»S, 130 amp.

Featuring trademark horns and a semi-opaque fireburst placed atop the hand, each Vigor bottle has been meticulously hand - painted for a truly authentic, slightly aged look.

Broken Age is hand painted images, applied onto 3D models, put into a 3D world, which in the end still looks 2D and hand painted.

More importantly, it looks like a 1930s cartoon — an age when cartoons had more in common with surrealist paintings than Disneyland.

In the end he found what he was looking for, which was not so much a new principle as a more comprehensive one: and it lay not in Nature, but in the essence of art itself, its «abstractness» — the qualities of the medium alone — as a principle of consistency makes no difference: it is there, plain to see in the paintings of his old age.

Richter's swiped - over twin towers, Dumas's crucifixions and portraits of Osama bin Laden and Phil Spector (looking like a creepy and ageing Ken Dodd) at Frith Street Gallery, and Sasnal at the Whitechapel: together these artists evidence a kind of mistrust and doubt, as well as a discovery that painting can be both revealing and critical.

We can say that it is abstract, non-objective, about colour and form and our perception of those things, but we live in an age of plastic, so much more baggage to look at paintings with.

A hefty square of mud from Italy (Arte Povera indeed) looks merely abstract, and Josh Tonsfeldt's painted wood with Simon Preston looks more aged than battered and neglected.

2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print Center, New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering Gallery, New York

I know that I am in for a treat of looking at good reproductions of interesting paintings, reading thought - provoking articles and interviews and then pondering on it all for ages afterwards.

Returning shows include Sascha Braunig's haunting, op - art inspired paintings at Foxy Production, and Derek Eller's retrospective of Thomas Barrow, a photographer who came of age in the 1960s, but whose distempered photo collages look distinctly contemporary.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Subject-wise, it goes from charming animals, including a horse that barely fits inside the painting's rectangle and a friendly - looking monkey, to text - based works, which include a sketch of a sailboat done by the artist's grandfather, and a drawing and story written by her middle - school - aged son when he was bored, arranged across five freestanding panels and only readable when the viewer stands in the right place.

As we reassess the various power structures that landed us here, it is stabilizing and reassuring to look at the work of an artist who is clearly in control of her craft, who is able to depict a reality that is material and grounded in recognition — of seeing, in the Facebook age, a painting that looks like who it is meant to.

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

I thought,» In looking to the past there, may be some future,» after encountering Alex Katz's amazing, continuous large forms — painted at 90 years of age — at Gavin Brown's Harlem space.

This is to say that Poons has become less intent in his ongoing desire to harness the look of a surface or to take on the toil of the ages insofar as the history of recent painting exists.

Turning to visual arts at the age of 30, he originally experimented with pencils and tried to draw, but after taking painting lessons he discovered paper collaging and has never looked back.

Over at Damien Hirst's Newport Street Gallery, the ageing YBA Gavin Turk is showing us chewed - up apple cores and discarded kebab wrappings that are actually expensive bronze casts painted to look like rubbish.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

Cornelia Schulz is a venerated abstract artist who taught at UC Davis for three decades, but you wouldn't know her age from looking at her recent paintings.

The painting, one of a number found in Titian's studio at the time of his death in 1576 aged 89, and which had been hidden away for centuries in a remote palace in the Czech Republic, had a blasted rawness, a disregard for classical finish that made the other Renaissance paintings around it look effete in comparison.

Just by looking at some global trends, we can notice that in the art world this is increasingly the case, from the two examples we mentioned in the introduction, with Carmen Herrera selling her first painting at the age of 89, then 81 - year - old Barbara Kasten with her first survey at the ICA in Philadelphia, to Phyllida Barlow, 72, who will represent the UK at the Venice Biennale.

«Like gargoyles looking down from the sides of medieval cathedrals, funerary effigies in medieval churches or the cadaverous presences who inhabit the unredemptive darkness of Goya's black paintings or Ensor's carnivalesque processions, these sculptures of the living dead are cautionary figures for an unvirtuous age» (J. Lingwood, quoted in Public / Political: Thomas Schütte, Germany 2012, p. 157).

There are «aged paintings», which are hand - painted corporate logos on plaster and burlap and affected with fading, cracking and the look of disintegration.

«Gerberman at Large,» Alexi Worth's recent short series of paintings, follows the romantic trajectory of a character who, being balding, bespectacled, and middle - aged, looks a little like me,...

The most recent paintings have a space - age look — 60s fonts float alongside Tomorrow's World digits in fields of fluctuating colour that get a certain depth from deepening hue or patches of twinkling black glitter.

On the one hand, the art world tends to look at abstract painting as being traditional, even old - fashioned, which it is; when the paint was wet on those early Kandinskys, it was practically in the Victorian era, the space age still half a century away.

The gray tint gives the top an aged look that goes well with my chalk painted armoire.

The customer is requesting a white distressed painted furniture makeover with a subtle glaze to give that worn aged look.

The paint I used was Annie Sloan Chalk Paint in duck egg blue, and used the dark wax to give them an aged look.

This is such a great product for subtly adding that aged, vintage look to your painted pieces!

The mix of white trim, painted wainscoting and aged look of the dark wax was just what the credenza needed.

Simply brush on the white paint and then using a damp sponge, dab and wipe until you get an aged look allowing some of the clay color to show through.