These acrylic
paint on canvas works investigate signals signage traffic movement tracks flags color juxtaposition rhythm patterns and the grid.
Not exact matches
Over the last few years, Adams has been
working on a series of
paintings that feature bold chevrons running across the
canvas, or diagonal lines radiating out from a triangle anchored to the bottom of the
canvas.
Speak, breathe, prophesy, preach, get behind a pulpit, mark exam papers, run a company or a non-profit, clean your kitchen, put
paint on a
canvas, organize, rabble - rouse,
work the Love out and in and around you, however God has made you to do it, just do it.
You will need some «tourist tat» oil
canvases you know the type almost like the
paint by numbers you probably
worked on as a child (oh my goodness how I loved my oil
paint by numbers sets when I was young!)
At first I
painted needlepoint
canvases, then I fell in love with counted
work on a study - trip in London.
At first I
painted needlepoint
canvases, then I fell in love with counted
work on a study - trip in London.
I
paint with oil colors
on to
canvas, and l feature photo - realism in my
work.
Painting on a bigger
canvas than his previous
works, Wingard created an atmosphere that contains just the right amount of suspense, humor, and terror.
Painting on a bigger
canvas than his previous
works, Wingard create an atmosphere that contains just the right amount of suspense, humor, and terror.
When she's not busy
working the front desk or assisting our medical staff, Logan enjoys playing with her rescue cat, «Sas,»
painting on canvas, and biking along the lake.
Sunday 10.11.15 - > 5 - 8 pm — Seven Bar & Kitchen in the Funk Zone Santa Barbara — 20 + pieces, never before shown
works in acrylic & spray
paint on canvas, plexi and recycled materials (& there are 4 limited edition prints available as well).
Sara, recently returning to
painting, from years as a fiber - artist,
works with mixed media
on canvas, in her Riviera studio.
«Using only palette knives, acrylic
paint and
canvas, I started
on a journey of creating 10 large - scale portraits using the authorized
work of National Geographic photographers Cristina Mittermeier and Martin Schoeller, along with renowned environmental photographer Art Wolfe.»
However, you can
paint with them
on a table or a drawing board, whereas the bounce of stretched
canvas tend to require you to
work upright
on an easel.
Joffe has described the absorbing, as well as the highly physical experience of the
work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of
painting and the ways in which oil behaves
on canvas or board.
The unconscious aura of titillation that arises from a visual representation of an aspiring woman artist in the mid-19th century, Emily Mary Osborne's heartfelt
painting, Nameless and Friendless, 1857, a
canvas representing a poor but lovely and respectable young girl at a London art dealer, nervously awaiting the verdict of the pompous proprietor about the worth of her
canvases while two ogling «art lovers» look
on, is really not too different in its underlying assumptions from an overtly salacious
work like Bompard's Debut of the Model.
Dempsey writes that, Cunningham, a graphic designer who abruptly refused to exhibit his
paintings after a successful start to his
painting career, «
worked in the solitary atmosphere of his chapel studio in Battersea, where he would travel each day to
work on his
canvases.
He now
works in mixed media
on canvas, combining acrylics, inks, watercolours, oils and spray
paint.
Using International Klein Blue
paint, Wagenknecht had Roombas trace her nude body
on canvases, creating images of the female form that recall Klein's «nude paintbrush»
works.
We also offer two different
canvas scrapers, which are ideal tools for
working back the
paint on canvas.
Working primarily in oil
on canvas, my
paintings are essentially abstract in form and are emotionally connected to the landscape that surrounds us.
I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing
works on paper vs.
works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that
works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil
paintings).
In my case, if I were to pay to have a piece framed, my costs become much higher for a
work on paper than for a
canvas painting!
Cornish writes: «I like how dramatic the
paintings are as images, and how this drama pushes and pulls (surges may be a better word) in two directions: the ruffs and ripples of
canvas and colour
work upwards towards the containing outline, whilst the outline imposes itself
on the action it frames: cutting, nipping, tucking and cropping.»
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.
Their short length allows the reader to revisit the
work in detail, focusing
on sentences, phrases, or words as one might examine the
painted passages or marks
on a
canvas.
Andrew Masullo
works on small
canvases with unmixed oil
paint in high - keyed colors.
He infuses these
works with a dense multi-layered mythology transforming
paint on canvas or paper into living, breathing creatures from another dimension that continue to mutate.
Within a few years the materiality of oil
paint takes
on a more central role in his
work when he begins to make
paintings by depositing small amounts of liquid
paint onto his
canvases and tilting them this way and that to direct the
paint toward the edges of some feint pencil markings.
Perfecting his computer - based technique into what he calls «frictionless drawing», blue monochromatic
works on display demonstrate how these abstract and vector - like gestures are meticulously transposed onto
canvas using acrylic, tape, UV ink and spray
paint.
You can see more of Peeta's
work, including his
paintings on canvas and sculptural objects,
on his website and Instagram.
The show also includes
works on canvas from the 1989 exhibition Trip - Tics in which Gurrola made his own versions of Philip Guston
paintings.
Featured among the large
works in oil
on canvas are the ravishing diptych «Heel, Sit, Stay» (1977) and the turbulent «La Grande Vallée XVI Pour Iva» (1983),
painted in high contrasts of indigo, violet, lemon and lime.
Blue Mountain Gallery presents new abstract
paintings by Janet Sawyer in a group of
works on canvas and smaller
works on paper.
In the 1980s, DeFeo returned to oil
paint, while still continuing to mix and assemble materials in her
work, creating large, glowing
canvases and an expansive scope of
works on paper.
Brodsky's style channels the heightened realism of 19th century landscape painters; whereas the historical
paintings were created
on enormous
canvases that echoed the vast American landscape, Brodsky's contemporary take condenses the visual impact into a token - sized
work that fits in the palm of a hand.
About 65 objects created from 2011 to the present will be featured including figurative
works, text - based wall hangings, a significant selection of beaded punching bags,
painted works on rawhide and
canvas, and video.
Having left his paid
work as an architect to focus
on painting, Bluemner was living in poverty at the time and was unable to afford new
canvases.
Williams
works for the show were drawn
on a computer and printed
on canvas, then stretched, and often
painted some more.
Cheim & Read is pleased to announce Joan Mitchell: Drawing into
Painting, a survey of
works on canvas and paper from 1958 through 1992, the year of the artist's death.
«I refer to the
works on canvas as
paintings even though they hold no
paint.
Peter Hoffman is a New Orleans - based artist who primarily
works with oil
paint on canvas.
Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small
works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07
painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little
canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray -
painting a wall).
In addition to important
paintings and
works on paper, the Parrish collection includes an unusually large number of
works in a less finished state, including some unstretched
paintings on canvas and a large number of
paintings on boards.
Angelina Gualdoni's
works on canvas take patterns, interiors and abstraction as their main focus, locating the rhythm of the everyday sublime in the language of color field
painting.
Tracing the evolution of Green's
work from monochromatic
canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18
paintings and 52
works on paper, including
works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of
painting that is based
on a combination of Aboriginal and Modern Western approaches.
Much of this relates to Richter's exploration of the relationships between
painting and photography, and only a very small proportion of the
work features brush
on canvas.
Concurrently he
worked on his Night Blooming series (1951),
painting dark
canvases with a mixture of pigment, gravel, and dirt.
When you decided to make
works on 194 - centimeter square
canvases, you started producing
paintings that mostly have window or ladder - like forms.
«No Love Lost» was the first UK exhibition of Hirst's series of oil
on canvas works collectively entitled the «Blue
Paintings».