Sentences with phrase «paint stained into»

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

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.

Not exact matches

Thus Schickel, whose versatile work has encompassed painting, sculpture, stained glass, furniture, and architectural design, in one of his most inspiring works turned a simple barn in his own Loveland into a quite reverent place of worship.

It is not uncommon to go into some of the poorest and most destitute communities around the world, where many of the people live in cardboard and tarpaper shacks and have barely enough food to live on, and in the middle of this community, find a large, grandly constructed church building with towering steeples, intricate stained glass, beautiful woodwork, and gorgeous hand - painted murals.

You get that wonderfully hard, wood - protective quality with paints and stains because the fats are so fragile, when they get heated they turn into something like a glass coating.

You get that wonderfully hard, wood - protective quality with paints and stains because the fats are so fragile, when they get heated they turn into something like a glass coating.

Sadly, I got so into staining and painting the dresser that I forgot to take pictures of the process.

What Verhoeven and Eszterhas are doing here is painting a sperm and blood - stained black velvet painting of a festering sore of a world; an empty, black hole that sucks in delusional, naive, men and women, turning them into meat - puppet mulch...

Aleksei German's posthumously finished Hard to Be a God is like stepping into a panoramic Bruegel painting and putting your foot right into a shit - stained corpse... in a good way.

Enjoy the common viewing room in the central atrium where hand crafted stained glass doors open up into a beautiful and unique wildlife gallery of paintings and hand carved art by local Vancouver Island artists.

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.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

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.

Set into a painted film of white gloss, opalescent hues of the butterflies» gossamer wings produce the effect of a Gothic stained - glass rose window.

Her work begins with marks, stains and cracks on the ground which Calame traces, then combines layers and retraces, transforming them into drawings in coloured penicl or pure pigment and paintings in enamel or oil pain.

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.

As we know about Helen's paintings, which are all developed by stains, these the ukiyo - e style woodcuts are produced by creating stains, and as we look into this light blue and green area the turquoise and the blues that are created.

He poured and stained paint into larger canvases.

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.

Ms. Wilkin has rightly included Sam Gilliam, who eventually pushed stain painting into installation art, and the stripemeister Gene Davis.

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).

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.

Paintings, drawings, printmaking, stained glass, jewelry, ceramics, pottery, fiber, mosaics, sculpture, and more are placed throughout the gallery, giving viewers a glimpse into the creativity that takes place throughout the many classrooms.

The Reweaves are created by staining plain - woven linen, pulling the fabric apart thread by thread, and reweaving those threads into two paintings with new patterns (one from the warp and one from the weft).

These vertical paintings compress the domed temple into animate flatness, like an arched stained - glass window.

Inspired by European modernism and closely related to Abstract Expressionism, Color Field painting is a style of abstract painting characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane.

The works in the exhibition range from paintings marked by «water stains» resembling the patina of vintage photographs to Foulkes» tableaux paintings, which are constructed on a massive scale, exhaustingly carved into with a sandblaster, collaged with plaster, paint, and found objects (such as two Coke cans, an American flag, and a tree branch in «Lost Horizon,» 1991).

But these paintings are stained — as even the title of the Pace show insists — and Hofmann wasn't into staining.

Careful lighting transforms the 13 monkey - god paintings lining the room into stained - glass windows and viewers behave as if they're in a non-specific holy space.

But then Frankenthaler, though she never departed from what was soon to become her trademark staining technique, in which she poured thinned paint, initially oils, then acrylic, onto raw canvas, leaving the paint, blooming and thinning at the edges, to sink into the weave but remain luminous, wasn't an artist who often repeated herself.

Quickly, you'll fall into a steady rhythm: Allison Wall juxtaposes a stain painting, with a video of how it's made (with her body).

«Color: Stained, Brushed and Poured» brings together several artists whose enquiries into color theory and paint application revolutionized the course of abstraction in America.

It's fascinating to see the diversity in Foulkes's complex formal language from his signature rag technique using rags to apply and subtract paint to the canvas in a way that anthropomorphizes the rock paintings into denim jean paintings, to the use of drips on the canvases imitating stains of a photograph, or over painting on top of collaged postcards.

What from a distance appear to be vast empty skies, prove to be blank walls, scrawled with graffiti or stained with nameless effluvia, which crowd the painting into a narrow plane and seal each unhealthy ecosystem.

Frankenthaler first began staining thin, luminous paint into raw canvas in the early 1950s, adopting Jackson Pollock's technique of all - over poured pigment but without the gestural drawing marks.

I started staining raw canvas and incorporating drawing into my paintings.

Moore writes: «The first thing one is aware of walking into a room full of Avray Wilson's paintings is the vibrant colour; vibrant in that it appears to be alive and pulsing, even glowing, bringing to mind stained glass or a kaleidoscope.

Rather than painting thickly with opaque paint, Frankenthaler used oil and then later, acrylic paint, thinly like watercolor, pouring it onto raw canvas and letting it soak and stain the canvas, flowing into shapes of flat translucent color.

While the paint is wet, he cuts into it with squeegees, opening spaces and exposing the stained backgrounds.

Created from stained, boldly applied strokes of predominantly red and black paint, the crisscrossing lines build up and recede simultaneously, both allowing the viewer entry into the work while also barring passage.

Along with Kiefer's earliest book, The Heavens, the exhibition includes Cauterization of the Rural District of Buchen, 1975, seven books made from charred remnants of paintings, indicating Kiefer's longstanding interest in alchemy and his exploration into the possibility of metaphorically healing a wounded German landscape; and Twenty Years of Solitude, 1971 — 91, which uses unbound lead pages as a foundation for a series of white, semen - stained ledgers.

A radical departure in the artist's practice, these were created using enamel paint, which both stained and soaked into the unstretched, unprimed canvas.

He also stained the surface, added dry pigment into the acrylic, and splattered paint across the ground.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

The following year she painted Mountains and Sea, a breakthrough composition created by pouring thinned paint onto unsized canvas so that the paint soaked into the canvas, staining rather than coating, to become at once the drawing and the coloring.

Often using iconic paintings, stained glass windows, or frescos as source material, the artist re-contextualizes these masterpieces by transforming brush strokes, sculpture and architecture into algorithmically derived abstract geometry, moving image and sound.

The paintings transform flat aspects of the stripes into dimensional passages through interruptions of paint drips, stains and abrasions, playing on the friction between intention and coincidence.

The David Richard Gallery is presenting «Color: Stained, Brushed and Poured» bringing together several artists whose enquiries into color theory and paint application revolutionized the course of abstraction in America.

It's an ideal pairing, contrasting smooth and shaggy surfaces and hard and soft edges while drawing both artists into a rewarding conversation about color, the decorative arts, and the surprising legacies of mid-century stain painting.

The paint stains her dress and slowly trickles through a manhole at street level and into Tops Gallery's below - ground space, leaving behind a trail of color on the gallery walls and floor.