Sentences with phrase «paint on a white ground»

In the large paintings on white ground, a purple head in profile could pass for a Sigmar Polke.

Painting with a single layer of paint on a white ground, Neel «draws» with her brush directly on to the canvas, using the brushwork and harsh colours to convey information, not for their own sake.

Justin Stephens» Untitled is a small - scale painting composed of blue spots of paint on a white ground.

With Gates I have been promising myself to paint it on a white ground for several years, so standing in front of it I renewed my vow.

When I first started showing I made these really simple paintings on white ground by not using a brush, just using stains, pours, which was inspired by a big Morris Louis show at MoMA in 1986.

Not exact matches

Spielberg's «Lincoln» tries to work the middle ground between the two, but it can't help coming down on the side of Lincoln the Saint most of the time, painting him as a font of wisdom who flits about the White House dispensing the wisdom of the ages as he pokes and prods men to do the right thing and tries to keep his hands clean in the process.

Encourage them to use white tempera paint for snow on the ground and branches.

Take your large watercolour brush and, making sure it is completely clean on a test ground before and after you pick up some of the paint, lightly sweep it over the dry white areas.

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

Greenbaum's early paintings certainly weren't afraid of bright colors, but these were expressed as lines on a white ground, as if to keep painting as close as possible to the immediacy of drawing — of scribbling, really, perhaps with Magic Markers.

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 capitalism.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

His small paintings seem assembled from strips of colored tape on an off - white ground, in slightly off - kilter and incomplete squares and diamonds.

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.

On the way to the Amistad's own gallery space upstairs, Mitchell stops at a Glenn Ligon painting, «White # 15,» on display in one of the Wadsworth's ground floor spaceOn the way to the Amistad's own gallery space upstairs, Mitchell stops at a Glenn Ligon painting, «White # 15,» on display in one of the Wadsworth's ground floor spaceon display in one of the Wadsworth's ground floor spaces.

Malevich's painted volumes on white ground — circles, cruciforms, squares — ticked along and still do, setting off those tremendously interesting conversations among artists and art historians who stood and stand agog at the implications of his mute, ineffably powerful action of visual declamation.

Precisely painted squares and rectangles in orange, rust red, green, mauve and white dance, overlap and swirl on a washed grey - mauve ground in this intimate 24 inches square acrylic...

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.

Fine lines of cadmium yellow text on white ground in another group of paintings were made almost invisible by their intensity, as though the viewer had moved from the darkness of the void to the brightness of the sun.

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.

While at Wingate Studio, the artist developed a process in which she painted directly on the copper plate with white ground, allowing her time to work, look, and rework by wiping away areas, diluting the ground with water, over-painting, and sculpting this paste - like mixture.

Keyser's Sad White Music, 2007, an orb of house paint on a sawdust - encrusted canvas support, and Smithson, 2007, a collage of enamel and paillettes on a blown - up 1970s copy of Smithsonian Magazine with a rope - harnessed rain - forest biologist swinging above a verdant canopy on its cover that becomes the painting's ground, exemplify both operations.

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.

The influence of calligraphy first became apparent in the tangled brushwork of his cityscapes of the 1930s, and Tobey went on to develop a unique style consisting of a web or network of calligraphic marks painted in white against a gray or coloured 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

A thick white oil ground - probably of household paint - was brushed on to the smooth face of the hardboard to give a hard, textured surface.

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 paintings.

«Of the just twenty - one door paintings ever produced by the artist, the present work is the only monochromatic example with white text on a white ground, making it a supremely rare paragon of Ligon's most acclaimed body of work,» the essay notes.

Serigraph, six color separations silkscreened on hand - painted ground, printed on Arches Cover white paper.

Both turquois color paintings are similar, same size, color, distribution of brush strokes etc., but at the same time they possess a completely different character due to different grounds: one the one hand a white primed cotton and on the other hand an uncolored acrylic ground on canvas.

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 white ground can be read as a negative or a positive, and it can vary from painting to painting, but generally I try to have things operate on a number of levels.

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

The competition is open to artists from Maryland, Virginia and Washington: «Baltimore painter Jo Smail, whose abstract paintings of pink squares and dark splotches of pigment on a white ground played a crucial... read more... «Baltimore painter Jo Smail wins Trawick Prize»

The solid colors (predominantly red, blue, green, orange) are usually limited to two colors on a white ground, although the watercolors often use more hues per composition than the paintings.

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.

Nude is painted over a moderately thick off - white ground on a commercially primed linen canvas.

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.

In the 2012 paintings, one encounters single geometric shapes repeated in light to dark gray monotones on a white ground.

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.

In 1948 and the early months of 1949 he painted most often on narrow horizontal canvases with irregular patches of cobalt, cadmium red and white against a, dull reddish - brown ground.

There is a strict, specimen like presentation of the pictorial elements; in all of Mills's paintings, the darker marks appear to be on top of the white ground, whether it is gesso - clean or frenetically textured.

Because Mason paints on a prepared white ground, not raw canvas, her transparent washes seem more akin to J.M.W. Turner's late work, especially regarding that vague sense of landscape that nags at a viewer's attempt to read its implied space.

The two paintings entitled Treatise on the Veil (the first version, painted in 1968, is in the Ludwig Museum in Cologne) are highlights of Twombly's «grey - ground» period, which spanned from 1966 to the early 1970s, in which thin white lines running across a grey background convey an increasingly lyrical feel.

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.

Among Ligon's own contributions to «Encounters and Collisions» were several works with texts that employ the first - person pronoun: In Untitled (I am drawn to sleaze...), 1985, the parenthetical phrase has been handwritten across an expanse of juicy oil pigment; in Untitled (I Lost My Voice I Found My Voice), 1991, the text was repeatedly stenciled in oil stick onto a gessoed white ground until it became illegible; in Study for Condition Report, 2000, annotations identifying damage and wear are made on a photocopy of a photograph of a painting reprising the famous protest signs declaring I AM A MAN.

«On the ground floor, I kept the walls white, as I like to introduce colour with paintings and accessories.»