Sentences with phrase «paint strokes appear»

Here, the motion of paint strokes appear to have been delivered with more fierceness.

Not exact matches

An artist's legs appear encased in plastic, but it's an illusion that's painted on with a few white strokes

The map shows the intensity of infrared light, and traces magnetic field lines within filaments of warm dust grains and hot gas, which appear here as thin lines reminiscent of brush strokes in a painting.

Still, the law - Dogs (Northern Ireland) Order 1983 - appeared to paint breeds in the broadest brush strokes.

Kalm writes: «With this exhibition, the artist appears to be thinning down her paint, exercising a more virtuosic and slippery brush stroke, and striving for a fresher and more spontaneous style.

Appearing like pixilated images, brightly coloured weavings or even needlepoint, Guy Yanai's oil on linen paintings depict simplified interpretations of the everyday painted in meticulously applied strokes of colour.

These paintings at first appear dense and out of focus but are full of rich color and lush brush strokes.

The paint appears almost pixelated because every brush stroke is visible to the viewer — making his process completely transparent.

Since earning her MFA from the School of the Art Institute of Chicago in 2009, Lauren's work has developed into oil paint stop - motion animations - moving paintings in which thick impasto strokes appear to move before the viewer's eyes - and music videos for international acts.

Dexter Dalwood appeared to be an early favourite, while many wished Angela de la Cruz, who had suffered a debilitating stroke five years ago, a deserved comeback triumph (though the artist who makes evocative «sculpture / paintings» of crumpled canvases did win the prestigious # 35,000 Paul Hamlyn Award last month).

In the shot below, you can see how the brush strokes have lighted the opening of the pot but as the paint has been taken off the bristles, this has automatically allowed the interior of the pot to appear darker.

Gechtoff's painting Angel (1960), a vaguely female form (the artist says it's a self - portrait) in a crucifixionlike pose, energetically composed of shards of bright hues, dominantly pink and sky blue, lit the front room at Nolan; in the back was a large (61 - by -40-inch), radically abstract Gechtoff drawing from 1956 — 57 in which an entity made of long graphite strokes appears to traverse the otherwise empty page.

The paintings have a physicality that is described through the monochromatic brush strokes and the punctured holes of the drawn lines that pierce the surface of the canvas, yet from a distance, they appear to be flat and suggest a fine line drawing.

Whereas Louis and Noland worked with an icy control, often using colored washes rather than viscous paint to avoid even the texture of paint strokes, Thomas allows a playful humanity to appear through the rigor, pushing against it in creative and unexpected ways, but never breaking through or turning haphazard.

At first glance, the work may appear to be too precise to have been hand - painted, but a closer look reveals brush strokes and subtle tactile shifts left by the artist's hand.

It is worth noting that the stylistic variation that Parsons cultivated in her gallery appeared also within the production of some of her individual artists: not only Sterne but also Sekula, who wrote to Parsons in 1957, «I paint each hour differently, no line to pursue no special stroke to be recognized by, it is still me though it contains over 1,000 different ways.»

In 1965 and 1966, he painted a series of big canvases marked with one, two, or three enormous gestural brush strokes, in which every drip and splatter appeared to have been carefully rendered with the precision of a machine.

She used dabs and strokes of paint to express the «new colors through the windowpanes» that appeared every time the plants moved in the wind (Alma Thomas: Phantasmagoria, Michael Rosenfeld Gallery, 2001).

Also evident is the merging of painterly and sculptural space, as Stella's objects, mostly hanging on the walls like paintings, offer steel armatures that appear to function like the gestural brush strokes in Kandinski's work.

The paint is put down in broad brush strokes of acrylic mixed with modeling paste to appear as if stucco.