Sentences with phrase «paint staining technique»

Louis achieved this through an adaptation of a paint staining technique first revealed to him upon a visit to Helen Frankenthaler's studio in 1952 with Kenneth Noland.

Not exact matches

Pali uses only non-toxic, lead - free paints and stains, water - based glues, and techniques that minimize solvent emissions.

Also, keep in mind that if you pick up a piece you'd like to paint using this technique, and it's already stained or painted, you can skip this step entirely and simply apply a top coat of chalk paint.

Specialty techniques As either a stand - alone or combined with natural, painted or stained finishes, speciality finishes have grown in variety and popularity over the years.

Call it Manet for the millennium, after his late flower paintings... If... DeGiulio's art plays it cool... Zuckerman - Hartung's work is a firestorm of techniques and effects: bleaching, dyeing, staining and sewing linen, silk and humble dropcloths.»

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.

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.

Miró pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery.

Many different artists employed staining as the technique of choice to use in making their paintings.

Brooks frequently used stain as a technique in his paintings from the late 1940s.

He begins by outlining the composition with gold stained glass paint in a technique similar to ancient Asian cloisonné.

In these paintings he used the soak - stain technique, initially developed by Helen Frankenthaler.

Long after the workshop, artists such as Helen Frankenthaler and Yves Klein continued to experiment with unconventional techniques, expanding the vocabulary of painting to include drips, stains, body prints, and digital drawing, to name just a few.

Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy.

Irregular - shaped minimalist paintings like Papillion (2009), vibrantly colored, stained, birch woodwork from the «Doorways Series,» merged his sophisticated craftsmanship as a furniture maker and architecture student with inventive contemporary painting techniques.

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.

Extending the post-painterly abstract techniques of pouring and staining, Saccoccio creates skeins of crisscrossing drip lines, often adding pure dry pigment to the wet paint, imbuing them with colors not normally seen in daily life.

Brooks regularly used stain as a technique in his paintings from the late 1940s.

While the rivulets of watery paint and the luminous glow of the surface suggest that he is using techniques associated with stain painting, his reworking of the surface, with multiple layers of paint and varying textures, goes against what we think of as stain painting.

Eventually, she switched to acrylic paint, but Frankenthaler's sensuous and painterly staining technique led Morris Louis to adapt her process in what would become known as «Color Field» painting, and declare that Frankenthaler was the «bridge from Pollock to what was possible.»

The «one - shot painting» stain technique of color field was the innovation of Helen Frankenthaler, first accomplished in «Mountains and Sea,» made in 1952, when she was 24 and unknown.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Noland and Louis recognized almost immediately that the technique of staining -LRB-»... a way to think about and use color») was also a means of eliminating gesture and drawing, hallmarks of «action painting» which had dominated American at for a decade.

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).

I admire it because it contains multiple painting styles; (combining geometric boxes (chops), borders and calligraphy;) with landscape techniques that are remarkably similar to modern stain painting.

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.

Ms. Frankenthaler, whose staining technique was essential to the development of Color Field painting, was one of the most admired artists of her generation.

The city's first major exhibition of Frankenthaler's work in more than five decades, the exhibition explores her return to gestural improvisation after years spent developing her «soak - stain» technique (soaking her raw canvas with turpentine - thinned paint).

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is poured directly onto an unprimed canvas.

Determined to explore Frankenthaler's innovations, Louis and Noland returned to Washington and, along with other members of their circle, began experimenting with this stain - painting technique.

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is

Effectively staining the canvas with paint, the technique subverted the figure - ground relationship associated with painting by blurring the boundary between form and surface altogether.

Jackson Pollock, for example, inspired her to develop her own technique of «stain painting,» pouring thinned paint onto unstretched, unsized cotton canvas to develop her artistic visions.

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.

This large painting, the first in which Frankenthaler used her soak - stain technique, synthesized the influences that had informed her work to that point and announces her arrival as a mature artist.

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.

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.

Engaging interests such as science fiction writing, psychology, and the occult, Yackulic's work manifests as artist's books, painting, works on paper, and zines, employing techniques including letterpress, staining, and xerography.

Gilliam's untitled 1969 experimental floor painting, a deep - hued abstract made with the artist's «soak - stain» technique, sold for $ 197,000 (including fees).

Inspired by Pollock's pouring and dripping of paint, as well as by the watercolors she herself had produced the previous summer, Frankenthaler's soak - stain technique enabled an entirely new experience of pictorial color: fresh, breathing, disembodied, exhilarating in its unfettered appeal to eyesight alone.

Louis and Mr. Noland adapted her technique for their more geometric paintings and developed a method of applying a thin, highly liquefied paint directly to an unprimed canvas, in effect creating a carefully controlled stain.

Influenced by Jackson Pollock and other Abstract Expressionists upon moving to NYC, she developed a unique method of painting, the soak - stain technique, in order to create her color field paintings, which were a major influence on such other color - field painters as Morris Louis and Kenneth Noland.

In creating CORE, Rauschenberg blended silkscreen techniques with traditional painting techniques, applying brush strokes and stains to the printed images offered in this rather special collage.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

Born in Asheville, N.C., in 1924, he studied art at the adventurous, short - lived Black Mountain College (conveniently located just outside his hometown) from 1946 to 1948, was inspired by the stain - painting technique that Helen Frankenthaler deducted from Jackson Pollock's drips, and had his first exhibition in New York in 1957, at the Tibor de Nagy Gallery.

He used the techniques associated with action painting, such as dripping, pouring and splattering, and also used staining and worked with traditional brushes.

Continuing to use his technique, established in the 1950s, of staining unsized raw canvas with acrylic paint, here Noland has expanded upon it by not only painting the front surface of the canvas, but also working from behind.

In April, one of his works, a large floor painting executed using a «soak - stain» technique, marked a career record when it sold at Swann Galleries in New York for $ 197,000 (including fees), about three times the high estimate.