Sentences with phrase «painted wood relief»

Painted wood relief, 244x122 cm.

Sergio Camargo, Untitled, 1964, painted wood relief, 7 1/2 x 6 11/16 x 1 9/16 inches © The Estate of Sergio Camargo Courtesy: Sean Kelly, New York and Galeria Raquel Arnaud, São Paulo

They included David Butler (1898 - 1997), who fashioned animals, angels and people from cut and painted tin and other found items; the religious painter Sister Gertrude Morgan (1900 - 1980); Steve Ashby (1904 - 1980), who made raw figurative assemblages out of scavenged materials; and Elijah Pierce (1892 - 1984), whose carved and painted wood reliefs depict biblical scenes and national figures like the Rev. Martin Luther King Jr..

Camargo's painted wood reliefs draw a parallel with Espinosa's painting «Emina», where the repetition of a simple form creates hovering illusions of space and movement.

Not exact matches

When I saw his architectonic relief paintings of the early seventies with new materials like wood, felt, and different levels, slopes, and planes they struck me by their relationship to Picasso's Synthetic Cubism and Picasso's Cubist sculpture and Jackson Pollocks» cut out paintings like Out of the Web.

After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings.

Victor Pasmore, Projective Relief Construction in White and Black, 1965 transparent painted wood and plastic, 122 x 122 x 53.5 cm

A founding artist of Viridian, Ms Bohman's painted aerodynamic reliefs of linen over wood armatures, seamlessly integrate the disciplines of painting and sculpture.

The exhibition brings draws together approximately 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

«Claire Falkenstein: Matter in Motion» explodes this narrow view with nearly 50 works, introducing a relentless exploration of abstraction in early paintings on canvas and also curved perforated aluminum; sculptures of wood and glazed ceramics; and one fantastic mixed - media relief.

This exhibition includes rare examples of ZERO period works including Licht - Relief [Light - Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief [Light - Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on panel.

The exhibition brings together 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

Along with the artist's large - format wood sculptures and reliefs, paintings from the later Remix series are also featured, as well as a new group of works, which is publicly displayed here for the first time.

The work was one of nine shallow relief paintings on wood that punctuated the walls of the sizable main gallery and a smaller annex space.

The exhibition brings together approximately 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

After introducing wood and other materials in the Polish Village series (1970 — 73), created in high relief, he began to use aluminum as the primary support for his paintings.

With a self - imposed mandate to free painting from the confines of two dimensions and release it into a three - dimensional realm, Mr. Stella changed gears in the early 1970s to produce relief - like painted constructions made out of aluminum or wood.

Four of her iconic black painted wood sculptures will be shown along with a Plexiglas wall relief and a black, welded aluminum sculpture that illustrate her ability to articulate her vision in a range of materials.

As at Christie's, work by Brazilian artists was highly sought after, with strong prices including Sergio Camargo's painted wood construction, Hommage à Fontana (Relief no. 129), 1967, selling for $ 1.5 million, far above the $ 600,000 / 800,000 estimate.

BH 118 and 119 [the present work] are thus companion pieces in that both are the culmination of a sequence of plasters (akin to Ben Nicholson's practice of multiple variants of a painting or a relief), both are carvings in coloured wood and both date from 1943, the year Hepworth was able to return to carving.

«Abstract in White, Black Brown and Lilac», 1957, relief construction, painted wood, British Council Collection, © Estate of Victor Pasmore

For the fifteen mud - brown monochromes in this show, each titled «Debris Field,» the young New York artist created low - relief molds based on photographs of detritus found in his studio (wood, dirt, etc.), filled them with acrylic paint, and attached the hardened results to canvas.

The modest show, organized by guest curator Jay Belloli and largely selected from holdings in the artist's foundation, includes student efforts, late paintings, a few ceramics, some wood carvings, jewelry designs, two glass vases, a Surrealist abstraction carved in low - relief on the back of an illuminated plexiglass sheet and more than a dozen prints.

His abstract reliefs — elevating commonplace materials such as wood, spray paint, glue, Velcro and staples — exist in the conceptual interstice of painting and sculpture.

Influenced initially by the still life painting of his father William Nicholson (1872 - 1949), and by Cubism, he achieved his creative peak early on in life, with his famous series of «White Reliefs» - low relief sculpture in painted wood, made between 1934 and 1937, after which he and his second wife Barbara Hepworth (1903 - 1975) established the St Ives School in Cornwall.

The installation, Le Magasin Monumental, is composed of mixed - media pieces, «reliefs au mur» constructed out of discarded materials (wire, weathered wood and stories) and installed on the wall among circles painted in pale, pastel colours.

Victor Pasmore 1908 - 1998 Synthetic Construction (White and Black) 1965 - 6 T00784 Oil on Formica, painted wood and PVC relief 1226 x 1226 x 265 (48 1/4 x 48 1/4 x 10 7/16) Inscribed on back in white paint «VP», centre Presented by the artist 1966 Exhibited: Henry Moore to Gilbert and George: Modern British Art from the Tate Gallery, Palais des Beaux Arts, Brussels, Sept. - Nov.

During the years 1933 - 7 he turned to a new form of non-objective art - abstract relief sculpture - which he refined into his signature style of geometrical «white reliefs» in painted wood, using only circles and straight lines.

One stand - out is Beat Zoderer, who has contributed two wall - reliefs constructed from short lengths of brightly painted wood.

Accompanied by archival materials from the still active Atelier Arcay, the exhibition includes twelve works that document his progression from easel painting, which he abandoned in 1956, to the wood reliefs that facilitated the expansion of his practice into architectural space.

The work was one of nine shallow relief paintings on wood that punctuated the walls of the sizable main gallery and a...

Coinciding with his move to the Bay Area, he began to employ wood in his sculptures, eventually leading to the creation of painted reliefs.

In a 2006 series of wall reliefs made of white sponge stretched over wood, Amado once again references Minimalism — in this case to the white paintings of Robert Ryman — while presenting symbolically suggestive words such as «desire,» «beauty,» and «death» that appear like raised inscriptions on tombstones, which clouds their meanings in mystery and ultimately leaves interpretations ambiguous and open - ended.

The Anuszkiewicz paintings shown in this exhibition are sculptural low relief wood constructed paintings of intertwined boxes that induce cerebral illusions of transparency and solid forms.

His works of this period, perhaps his finest, consist of geometrical abstract paintings composed of rectangles and circles of clear, uniform colors and of carved white reliefs of extraordinary purity, made from wood and synthetic board.

During the 70s, he continued innovating - this time by rejecting his former emphasis on the flat, 2 - D nature of the picture plane, and incorporating collage, felt, wood and other materials into the new «relief paintings» of his Polish Village series (1970 - 1973).

That's where he painted «Plant I,» his first use of a white form on a black ground, and produced his first lithographs, collages, reliefs and shaped - wood cutouts.

The artist's second solo exhibition at the gallery featuring works ranging from paintings on stretched canvas to relief sculptures made with steel, wood, cardboard and muslin.

On display were four «dogleg» - shaped canvases (versions of which were exhibited at James Fuentes Gallery in New York in 2014) and a new series of five sculptural reliefs, as well as several hybrid paintings, composed of multiple canvases joined together and overlaid with various collage elements, such as rope and scraps of wood (all works, 2015).