Sentences with phrase «painted on canvas board»

We actually painted on canvas board (63 cm by 49 cm).

Original painting on canvas board 13 x 24 overall size with original vintage wood frame is 15 x 26 Signed lower left

Original painting on canvas board 16 x 20 Signed lower right Overall size with vintage wood frame is 19.5 x 23.5

Not exact matches

Materials: 8 ″ x 10 ″ Canvas (stretched or on board) Vintage music paper Modge Podge Foam brushes Craft paint Scrapbook paper Scissors Cardstock

She paints exclusively in oils on canvas or board.

Unsurprisingly I guess, oil - paint on canvas (canvas textured boards, we couldn't have bounce of actual canvas on frame) gave us results closest to Vincent's paintings.

She paints exclusively in oils on canvas or board.

She paints exclusively in oils on canvas or board.

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.

Acrylic paint and paper collage on canvas board, 35 x 27 cm.

Cueva de El Castillo, Puente Viesgo, Spain Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Panel of Hands, photo: Pedro Saura Cueva de El Castillo, Corridor of Disks, photo: Pedro Saura Hologram, Museo Nacional de Altamira, Santillana del Mar, Spain, photo: Estudio Nómada Inside Conellante, Matienzo, Spain, 2010, photo: Randee Silv El Pendo, entrance, 2010, photo: Randee Silv Pech Merle, Cabrerets, France, photo: Steve Errede, Dept. of Physics, University of Illinois Airbrushing, photo: Don Hitchcock, Don's Maps Finger Flutings, Grotte de Rouffignac, France, photo: Kevin Sharpe & Leslie Van Gelder Untitled, Alice Rahon, 1945, watercolor, 10 x 8», photo: Creighton - Davis GallerY L'Enclume, Wolfgang Paalen, 1952, oil & fumage, 53 x 74», photo: Artsy.net Message, No. 8, Mathias Goeritz, 1959, gold paint, perforated steel, pushpins on board, photo: Arevalo Gallery Conference Poster 1950, Willi Baumeister, Centro de Arte Riena Sofia, Madrid, photo: Randee Silv Altamira, Joan Miró, 1958, lithograph, photo: Quittenbaum Auction House, Munich Joan Miró & Josep Llorens Artigas, Altamira, 1957, photo: Fundación Botín, Santander, Spain Patterns of Aranjuez, 1955, N. H. Stubbing, oil on canvas, 78 x 69 ″, photo: England & Co, London Cave of Black, Herman Cherry, 1954, enamel / coffee grinds on canvas, 61 x49 ″, David Findlay Gallery, photo: Randee Silv Untitled, Denny Winters, 1982, photo: Gamage Auction House, Rockland, Maine Before the Caves, Helen Frankenthaler, 1958, oil on unprimed canvas, 102 x 104 ″, photo: Berkeley Art Museum The Homely Protestant, Robert Motherwell, 1946, oil on masonite, 98 X 48 ″, photo: Metropolitian Museum Cave Study (Perigord Region), Elaine de Kooning 1983, segment, photo: Artvalue.com Lascaux Cave, France, closeup of Megalaceros section, photo: Wikimedia commons Untitled 1963, David Smith, spray enamel on paper, 14 x 19 ″, photo: David Smith Estate Chauvet Cave, Vallon - Pont - d'Arc, France, photo: Dr. Jean Clottes Exhibition poster, Miguel Barceló, Institut Valencià d'Art Modern, 1995 photo: Michel Fillon Gallery, Paris Stages of Trance, photo: David Lewis - Williams, Inside the Neolithic Mind Pareidolia, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv Blackness, Conellante Cave, 2010, Matienzo, Spain, photo: Randee Silv

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.

To grant pure abstraction its utmost wish is to say that it is a painting in the same way a table is a table — there is nothing to it apart from that formation of shapes and colours on canvas or board.

The new work, on canvas, board and paper, range from postcard size pieces to large scale paintings, installed in ways which recall the story boards used in television and film production.

Her works are often created through the manipulation of the canvas: she pours paint directly on to the board, and, through movement, intuitively makes images.

It usually features pieces of wood, wood shavings, or scraps, assembled on a canvas (if there is painting involved), or on a wooden board.

Thomas Houseago, Black Painting 8, 2016, oil on canvas mounted on board, 108 × 72 inches (274.3 × 182.9 cm) © Thomas Houseago.

All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from paintings on canvas & board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.

Despite being the smallest piece in the show, this rectangular amalgamation of oil paint, acrylic paint, household paint, varnish and mixed media collage on canvas (then mounted on board) had that rare feeling of monumentality.

Oil and enamel on canvas mounted to four shaped wood boards joined with eight painted metal supports, 87 x 61 3/4 x 1 5/8 inches.

Oil, acrylic, household paint, household varnish, mixed media collage & oil on canvas mounted on board, 33 x 12.7 cm

«My photo emulsion on linen work began with collages of paper strips, corrugated plastic board and packing tape, which were then photographed and printed on photo - sensitive linen and stretched on canvas to become «paintings.»

In 1988, after having created a series of hand - painted spot paintings on board such as «Spot Painting», and the first work on canvas «Untitled (with Black Dot)» (1988), Hirst painted two near - identical arrangements of coloured spots onto the wall of the «Freeze» warehouse.

These paintings followed some loose hand - painted spots on board such as this one, dating from 1986, and the first spot work on canvas «Untitled (with Black Dot)» (1988)-- the only «Pharmaceutical» painting ever to have incorporated a black dot.

«on the phone» features the artist's new figurative works on board, canvas and paper as well as painted ceramic plates and sculptures.

Working in several media, including oil and pastel on paper, board, and canvas, his paintings strive toward direct expression by focusing on the act of painting itself.

Each treads boards as though assembled on a spotlit stage, its wooden floor dragged viscerally into being through paint pulled across Ghenie's canvas.

For Rauschenberg, painting entailed not only using a brush, but also silkscreening, collaging, transferring, and imprinting, and he did so on the widest array of materials from canvas, board, and fabric to sheet metal, Plexiglas, plaster, and paper.

De Balincourt frequently paints on board rather than canvas, giving the work a rough, raw texture, and uses an array of bright, rich colors.

Her oil paintings on boards and scraps on canvas appear to hover on the walls of The Chimney like small apparitions.

My original art work is painted on archival canvas boards with high quality paint that will last a lifetime.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches

Solo presentations include Sarah McKenzie's realistic paintings of exhibitions in museums, galleries and at art fairs at Denver's David B. Smith Gallery; Frances Goodman's portraits of femme fatales, intriguingly constructed from hand strung sequins on canvas at South Africa's SMAC; the Haas Brothers whimsical «Mini Beast» sculptures at Austin's Lora Reynolds Gallery; and Claudio Parmiggiani's haunting still lives, rendered in smoke and soot on board, at Simon Lee Gallery, which has spaces in London, New York and Hong Kong.

She paints using acrylic on either canvas or board.

Pousette - Dart created a number of works in the early 1950s like this one, using pencil and white paint on canvas or board.

This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking: abstract paintings and constructions on canvas, paper, and board; and a body of work Pindell calls «video drawings», an ongoing series of photographic prints that arise from her unique hybridization of photography, video, and drawing.

On the walls we will show paintings on canvas and board by a young artist, Christopher Eyles, who recently graduated from Farnham College of ArOn the walls we will show paintings on canvas and board by a young artist, Christopher Eyles, who recently graduated from Farnham College of Aron canvas and board by a young artist, Christopher Eyles, who recently graduated from Farnham College of Art.

Though all of the pieces in this exhibition are paintings, they are in a variety of media and sizes, on paper, canvas, board and a single painted object.

• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»

In 2014 Deluxx Fluxx was also exhibited at Edinburgh, Scotland's Summerhall as part of the Edinburgh Festival - alongside the Vestige Board paintings; large canvases created initially in the studio from the artists and assistants cleaning their screens and brushes on the surfaces and then later completed by Faile with the addition of recognisable «Faile» iconography on the surface.

Rather, I was advancing that she was being quietly subversive, just as Thomas Nozkowski had been in the late 1970s, when he began painting on prepared canvas board measuring 16 by 20 inches.

Working in oil on small pieces of canvas board near the waters and harbors of Manhattan, John Marin (1870 - 1953) was possibly the first American artist to make abstract paintings.

The show includes small, medium and large - scale works that fall into two broad categories: acrylic - and - gesso paintings on canvas, and oil paintings on gesso board.

oil on canvas board, 16» x 20» Pace Gallery is pleased to present an exhibition of paintings by Thomas Nozkowski, marking the gallery's sixth solo sh...

This exhibition focuses on two areas of work: her abstracts — paintings and constructions on canvas, paper and board; and an ongoing series of photographic prints that combine photography, video and drawing that she calls «video drawings.»

A vintage oil on canvas board landscape painting.

In the 1980s he used to paint works on traditional supports such as canvas or board, but he became sickened by the rampant and cynical commercialisation of much painting of the period and even gave up painting altogether for a time.

POPE.L Lipstick in the Ashtray 2016 Acrylic, marker, pencil and painted push pins on canvas board in artist frame 14.25 by 11.25 by 2.375 in.

17, 2014 Sam Doyle Works on View at LACMA Los Angeles Self - trained artist Sam Doyle (1906 - 1985) began painting in 1944, using found objects such as sheet metal and wood board as his canvases.