Sentences with phrase «paint stained canvas»

Partially inspired by women hanging laundry on clotheslines he observed from the window of his Washington studio, Gilliam abandoned the frame and stretcher, and began to drape and suspend large areas of paint stained canvas.

This six part work involved several hundred feet of paint stained canvas, and was commissioned for the exterior walls of two adjacent wings of the museum.

Today many of her oil paint stained canvases are deteriorating.

Not exact matches

The 80 - year - old Sam Gilliam, known for his ravishing color - field canvases that he sometimes drapes sculpturally on the wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.

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.

Still Life with Orange Stripes and Three BB Holes / 2015 / Oil, acrylic, gesso and mud with polymer medium, ink, marker, spray paint and smoke stain on canvas / 48» x 36» / $ 6,500

The combination of unprimed canvas, synthetic paint mediums and techniques such as staining made it possible for them to paint in new ways, sometimes without a brush, to achieve the desired effects.

Still Life with Painted Pear and Lower Case Letter O / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

In one large gallery stain painting is rebelliously pushed off the stretched canvas in vibrantly colored and variously two - sided, sewn, beaded and torn works by Manny Farber, Alan Shields and Alvin Loving.

When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself acted as forcefully and as positively as paint or line or color.

Keyser's canvases are open books, flayed, stained, and / or augmented compositions imbued with visual narrative and reinventions of painting itself.

Still Life with Four Blue - Green Stripes, Two BB Holes and White Drips / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

Still Life with BB Holes, Painted Pear and Learn to Draw Rodent / 2015 / oil, acrylic, enamel, spray paint, ink, gesso, and mud with polymer medium and smoke stain on canvas / 48» x 36» / PLS INQ

They also look to back color - field painting, when stained canvas for many critics came fraught with lightness and excess.

Still Life with Ten Red - Purple Stripes, Painted Bite - Size Spiced Donuts and a BB Hole / 2015 / oil, acrylic, spray paint, mud with polymer medium, gesso, wood glue, smoke stains and floor sweepings on canvas / 84» x 30» / PLS INQ

Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952.

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.

Often staining both sides of the canvas, her paintings operate as fluid scrims between still life, color field and pattern and decoration.

Still Life with Two BB Holes and Drips / 2015 - 2016 / Oil, acrylic, spray paint, gesso, ink, and mud with polymer medium and smoke stain on canvas / 48» x 48» / $ 7,500

The following year, with Mountains and Sea, 1952, she created another kind of painterly space by staining unprimed canvas with oil paint while allowing telltale signs of drawing to remain.

Still Life with Orange Drips and Painted Pumpkin / 2015 - 2016 / Oil, acrylic, enamel, spray paint, ink, gesso and mud with polymer medium and smoke stain on canvas / 96» x 60» / $ 12,000

Brooks began diluting his oil paint in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used.

His latest exhibition «Powder of Light currently on at Jonathan Levine Gallery in New York, combines acrylic, ink and spray paint on a background texture of tea - stained canvas.

The work proceeds to step entirely outside of their final iteration by exposing uncontrolled stains and drips of bright green and red paint on the canvas» thick edges.

Back in the sixties, Morris Louis developed an innovative method of painting by «staining» his unprimed canvases with thinned washes of acrylic pigments, and was one of the... read more... «Morris Louis unveiled»

Instead of resting on top of the canvas, the paint in this image stained the canvas — a significant feat in an era when avant - garde artists were fascinated with the flatness of painting.

The artist stains and pours paint vertically on the canvas, sometimes prodding it with a brush, and then she turns the work on its side so all the verticals read like horizon lines.

Artists realized that Jackson Pollock's process — the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery — essentially took art - making beyond any prior boundary.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Done by staining diluted acrylic paint onto raw, unsized canvas — a technique Mr. Noland learned from Helen Frankenthaler — they consist of concentric circles in a variety of colors centered on a square canvas.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Influenced by abstract expressionism, Gilliam experimented with methods of applying pigment, often pouring paint, staining canvases, and folding them while still wet.

Sigal's installation also included a large wall painting and several smaller canvases, combining images of stained surfaces and observational landscapes.

His drips, stains, and brushstrokes have a greater momentum, as if paint had exploded out of the can and landed on Mylar or canvas.

Her paintings result from her varied processes of staining, soaking, painting, and stretching the canvas until she decides which side is the front and which side is the back.

Artists realized that Jackson Pollock's process — placing unstretched raw canvas on the floor where it could be attacked from all four sides using artistic and industrial materials; dripping and throwing linear skeins of paint; drawing, staining, and brushing; using imagery and nonimagery — essentially blasted artmaking beyond any prior boundary.

He poured and stained paint into larger canvases.

An unprimed surface is typically not treated with gesso or any other form of sizing, which in turn allows for the paint to pool and stain the canvas.

An early and influential pioneer of Color Field painting, Louis gained renown for his innovative method of staining raw canvases with washes of pigment to create vibrant, large - scale works.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

He creates his Submersion Paintings, in intense blues and saturated magentas, by staining untreated canvases with rich washes of acrylic paint before applying a thick layer of gesso.

Alongside the stained works, Komodore made bolder patterned paintings using masking tape on primed canvas.

His poetic use of found materials, printed and reproducible images, his unconventional and inventive mark - making, and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb stains of nature and of the studio, or exposing the paintings to the forces of weather) can be seen echoed within Schnabel's entire body of work as well as in the work of a subsequent generation of artists.

Working outwards from this moment, the exhibition traces several related phenomena: the artistic innovations of poured paint and stained raw canvas; the social implications of decoration; authorial control vs. materiality; the body and painting; and the image of the woman painter and related questions of gender and identity.

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

Stained Color Field Abstraction was pioneered by Helen Frankenthaler.She diluted her paints and poured them onto canvases often lying on a floor or table.

Staining acrylic paints into their canvases rather than painting onto primed canvas set the Washington Color School artists apart from their California and New York counterparts.

During this period, she developed her influential «soak - stain» technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

This application gave something of the effect of acrylic paint stained into raw canvas, a method of application that was common at the time.