Sentences with phrase «paint on a black ground»

In an enormous visual blur created by great smears of white paint on a black ground, dissolution has been stopped in its tracks.

Only one study, Untitled, Study for Painting on Black Ground, replicates the composition and the palette of the painting itself, and even this is quite different because it was rendered on an underlying black background.

Not exact matches

Reflector panels, made of wood and painted black or aluminum, can be mounted on the north side of ridges that run east and west to reflect sunlight onto both the plants and the ground.

The Sport Black Trim Package ($ 1,295) is available on the 2017 Fiat 500 Pop and features body - color sport fascias and fog lamps, black - trimmed headlamps, a black painted roof, side sill ground effects, black side - view mirror caps, black sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whBlack Trim Package ($ 1,295) is available on the 2017 Fiat 500 Pop and features body - color sport fascias and fog lamps, black - trimmed headlamps, a black painted roof, side sill ground effects, black side - view mirror caps, black sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whblack - trimmed headlamps, a black painted roof, side sill ground effects, black side - view mirror caps, black sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whblack painted roof, side sill ground effects, black side - view mirror caps, black sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whblack side - view mirror caps, black sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whblack sport spoiler, black tail lamps and 16 - inch Hyper Black aluminum whblack tail lamps and 16 - inch Hyper Black aluminum whBlack aluminum wheels.

Cueva de El Castillo, Puente Viesgo, Spain Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Corridor of Disks, photo: Pedro Saura Hologram, Museo Nacional de Altamira, Santillana del Mar, Spain, photo: Estudio Nómada Inside Conellante, Matienzo, Spain, 2010, photo: Randee Silv El Pendo, entrance, 2010, photo: Randee Silv Pech Merle, Cabrerets, France, photo: Steve Errede, Dept. of Physics, University of Illinois Airbrushing, photo: Don Hitchcock, Don's Maps Finger Flutings, Grotte de Rouffignac, France, photo: Kevin Sharpe & Leslie Van Gelder Untitled, Alice Rahon, 1945, watercolor, 10 x 8», photo: Creighton - Davis GallerY L'Enclume, Wolfgang Paalen, 1952, oil & fumage, 53 x 74», photo: Artsy.net Message, No. 8, Mathias Goeritz, 1959, gold paint, perforated steel, pushpins on board, photo: Arevalo Gallery Conference Poster 1950, Willi Baumeister, Centro de Arte Riena Sofia, Madrid, photo: Randee Silv Altamira, Joan Miró, 1958, lithograph, photo: Quittenbaum Auction House, Munich Joan Miró & Josep Llorens Artigas, Altamira, 1957, photo: Fundación Botín, Santander, Spain Patterns of Aranjuez, 1955, N. H. Stubbing, oil on canvas, 78 x 69 ″, photo: England & Co, London Cave of Black, Herman Cherry, 1954, enamel / coffee grinds on canvas, 61 x49 ″, David Findlay Gallery, photo: Randee Silv Untitled, Denny Winters, 1982, photo: Gamage Auction House, Rockland, Maine Before the Caves, Helen Frankenthaler, 1958, oil on unprimed canvas, 102 x 104 ″, photo: Berkeley Art Museum The Homely Protestant, Robert Motherwell, 1946, oil on masonite, 98 X 48 ″, photo: Metropolitian Museum Cave Study (Perigord Region), Elaine de Kooning 1983, segment, photo: Artvalue.com Lascaux Cave, France, closeup of Megalaceros section, photo: Wikimedia commons Untitled 1963, David Smith, spray enamel on paper, 14 x 19 ″, photo: David Smith Estate Chauvet Cave, Vallon - Pont - d'Arc, France, photo: Dr. Jean Clottes Exhibition poster, Miguel Barceló, Institut Valencià d'Art Modern, 1995 photo: Michel Fillon Gallery, Paris Stages of Trance, photo: David Lewis - Williams, Inside the Neolithic Mind Pareidolia, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv Blackness, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv

The paintings are Rothko's signature floating rectangles, although they are darkly hued - seven canvases with hard - edged black rectangles on maroon ground, and seven purple tonal paintings.

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitablack square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitaBlack Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitablack square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitalism.

Photo: Jonathan Muzikar, © Isa Genzken; Isa Genzken, Rot - gelb - schwarzes Doppelellipsoid «Zwilling» (Red - yellow - black Double Ellipsoid «Twin»), 1982, lacquered wood, two parts, Collection of the artist, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, MLR, 1992, lacquer on canvas, Lonti Ebers, New York, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, Hospital (Ground Zero), 2008, metal tray dolly, plastic flowers in spray - painted vase, ribbon, metal, mirror foil, synthetic polymer paint on fabric, shot glasses, fiberboard, and casters, Collection Charles Asprey, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, New Buildings for Berlin, 2004, glass and silicone on wood pedestal, four parts, Kravis Collection, Courtesy David Zwirner Gallery, New York / London, © Isa Genzken; Isa Genzken, Fuck the Bauhaus # 4, 2000, plywood, Plexiglas, plastic slinky, clipboards, aluminum light shade, flower petals, tape, printed paper, shells, and model tree, Private Collection, Turin, Courtesy AC Project Room, New York, © Isa Genzken

One of the earliest on view is the freely painted «Ex-Nihilo» (1958), still grounded in Abstract Expressionism, in which an amorphous center of blues, yellows, pinks and violets is irregularly rimmed in turn by white, scalloped black, white and finally a tipsy surround of gray.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Double Elvis features two black screen - printed images of the King on a silver - painted ground.

Defacement again came into productive play with Wool's Untitled (2007), spray - painted on linen and rubbed raw with turpentine, and Guston's North (1961 — 2), which used a similar method of scribbles of black paint bleeding into a white ground to produce dense passages of grey.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

On the ground floor of Sadie Barnette's solo exhibition, a group of five framed and enlarged COINTELPRO - era documents, sporadically misted with passages of black and hot - pink spray paint, reported that Rodney Ellis Barnette was observed wearing a postal uniform at a meeting of the Black Panther Party in Los Angeles on December 18, 196On the ground floor of Sadie Barnette's solo exhibition, a group of five framed and enlarged COINTELPRO - era documents, sporadically misted with passages of black and hot - pink spray paint, reported that Rodney Ellis Barnette was observed wearing a postal uniform at a meeting of the Black Panther Party in Los Angeles on December 18, black and hot - pink spray paint, reported that Rodney Ellis Barnette was observed wearing a postal uniform at a meeting of the Black Panther Party in Los Angeles on December 18, Black Panther Party in Los Angeles on December 18, 196on December 18, 1968.

Zaatari's two - part contribution to dOCUMENTA (13) similarly challenges the expectations audiences may bring by casting his latest works on archives not in the context of politics, history and memory but rather as a love story for two men played by three actors, in the black and white, 16 mm silent film The End of Time (2012), and as a mentor — apprentice drama in Time Capsule (2012), an extended performance for which the artist buried a concrete - encased collection of small monochromatic paintings — a tribute to an unnamed photographer said to be losing his sight — in a hole in the ground that was dug next to the Fulda River in the Karlsaue Park, with four spokes of rebar marking the spot.

At this time, his style was grounded in social realism, and his paintings focused on the lives and struggles of urban black Americans.

These paintings allude to parts of a whole, focusing on an indiscriminate component of a random structure, whose proportions are amplified by the black lines and enriched by the textured white ground.

On the ground right: Martin Kippenberger Richter - Modell (interconti), 1987 a 1972 Gerhard Richter painting, wood frame, metal legs From right to left: Lucio Fontana — Hisachika Takahashi Concetto spaziale, Attese, 1966 oil on canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronOn the ground right: Martin Kippenberger Richter - Modell (interconti), 1987 a 1972 Gerhard Richter painting, wood frame, metal legs From right to left: Lucio Fontana — Hisachika Takahashi Concetto spaziale, Attese, 1966 oil on canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronon canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronOn the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronze

The «Black Square» on white ground, that «zero point of painting» for which he is so named, Ellen Gallagher takes this up in the wisest and most sophisticated way in the show with her suite of four black paintBlack Square» on white ground, that «zero point of painting» for which he is so named, Ellen Gallagher takes this up in the wisest and most sophisticated way in the show with her suite of four black paintblack paintings.

In Dungeness, Kent, Jarman produced his Black Paintings, all on canvas and gold ground.

Maggie Michael, Colored Ground Series (Orange): How to Make (Frame) a Black Rainbow, 2014 latex, ink, enamel, spray paint on canvas, 39 × 56».

The Berkeley gallery, on the ground floor of the building, features a selection of Sturtevant's Frank Stella works, encompassing the Black, Aluminium and Copper Paintings, as well as a number of Concentric Squares.

Painted in 1973, the year he died, one acrylic painting on paper suspends a white disc against a roan ground above a trembling spray of black paint.

Shot on rough ground, Thomas Roma's black and white pictures of the shadows of dogs at play look a bit like cave paintings, where featureless silhouettes distill the doggy essence of each animal.

The optical effects explored by Graves in the paintings and prints with the black ground came from her study of color under Josef Albers at Yale in the 1960s and his important course on the Interaction of Color.

Shown on the ground floor of the gallery is Graham's multi-piece work «Black Tapestry», which comprises 25 darkly painted over copies of Carole King's legendary record album «Tapestry», with which she celebrated her breakthrough in Rock and Pop Music in 1971.

In Music of the Mountains (2016), a graphic work on panel, Brown paints using only black and white lines over a neutral ground.

«These pieces and perspectives narrate several Ofilis: the colorist who works in restricted palettes, at times Garveyite red, black and green, at others blue monochromes or Favist ochres, purples and greens; the scatologist who uses shit as a sculptural base and pictorial ground, handling paint both to build up and denude his paintings surfaces; and the mime of machismo and voyeurism who draws on imagery from blaxploitation, Marvel comics, porn, and postcolonial African photography,» he writes.

To be sure, this painting (and its counterpart from the following year, Nazi War Cave # 2, which reverses the black ground and white foreground) is engaging on many levels.

Besides A Woman, the early work includes various versions of Kusama's Infinity Net paintings, for which she scraped away at white paint slathered on a dark ground to fashion lozenges of black or grey, a precursor to her more mechanically perfect polka dot.

The exhibition included thirty - five abstract paintings by Kazimir Malevich, among them the famous black square on a white ground (Russian Museum, St Petersburg) which headed the list of his works in the catalogue.

That's where he painted «Plant I,» his first use of a white form on a black ground, and produced his first lithographs, collages, reliefs and shaped - wood cutouts.

Silhouettes, painted there in 1938, is a zany array of biomorphic forms, somewhere between planets, fruit and exclamation marks, ultramarine and black against a pale ground so that they dance abruptly on the eye.

T1938 - 31 (1938) a small painting on wood could be seen as a precursor to Jackson Pollock's mature paintings — black tempera is dripped and brushed on a white ground.