Sentences with phrase «painting huge canvases»

Later, when art materials were available, he enjoyed painting huge canvases and achieved great success.

Mr. Bradley has painted a huge canvas with the word «jazz» in big white jazzy letters on a black background.

* 10 am Megan Wachob, MWMurals will be painting a HUGE canvas of white & purple home of The Purple Painted Lady (across from front porch where band is) Watch how she creates something out of nothing.

Not exact matches

I always buy that Trader Joes pizza crust, such a blank canvas ready to be painted, love what you did here... I'm a huge cheese lover but my recent tries of cashew cheese definitely make for a great dairy free combo.

One quiet afternoon we looked through the «Art book for Children», the first picture to catch her eye was a huge mass of swirling colour with a man throwing paint at a canvas on the floor.

And while I'll always love painting huge, messy paintings on canvas, my soul's been craving a more integrated kind of creativity — the kind that easily weaves itself into all aspects of my life.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

On that second day I walked to Chelsea alone and did my own kind of praying in front of huge canvases painted by a pregnant woman from Brazil.

You'll see a huge canvas colored plain green, toilets splotched together with masking tape, and paintings that look like someone splashed together twenty colors over five minutes and displayed it as a joke on artistic snobbery.

Lee Lozano's huge sectioned canvases have a directional paint quality sweeping through and around curves into sharp breaks.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

They didn't prime their huge canvases before putting on their paint.

The result was an explosion of otherworldly biomorphic and architectural ink washes that evoke images of tree branches, piers and unfinished buildings, and more recently, their counterpoint, huge paintings with big thick tactile lines of color that sweep across the canvas like a roller coaster.

Even critics otherwise sympathetic to advanced painting in the 1950s were made apoplectic by Newman's huge, minimally inflected canvases — fields of monochromatic paint with a vertical stripe or two — and they have provoked vandalism from the time of his first solo show at the Betty Parsons Gallery in 1950.

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.

A large poster features an image of a huge red abstract painting on canvas that Carter dragged into a wooded area before photographing it alongside the upright dolly she used to move it.

These are some of the largest paintings he made and of course, they are enveloping for that reason — you can kind of fall into them, but it's also really amazing to think about them in terms of how they are made, in terms of him dealing with these huge lengths of material and canvas and the way the paint would play across it.

«We had these huge canvases that we had to fold over and press together so that the paint was evenly distributed on both halves of the canvas.

Other highlights: One of Brian «Hey I'm In Every Group Show This Summer» Belott's sock - and - glass works; a huge Chuck Webster painting; two of Gina Beavers's sculptural canvases, paired next to mid -»50s photographs of female dolls by Morton Barlett; and a beautiful little Forrest Bess mountain landscape from 1968.

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At Sadie Coles he showed work featuring the imprint of huge palm leaves on weathered canvases splattered with rain saturated with pigment, while at the Zabludowicz Collection there were boldly painted aluminium sculptures and a recent series of five video works using appropriated scenes from Tarkovsky films played against a segment of a Velvet Underground song.

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New York - based Eddie Martinez paints huge, brightly coloured canvases, often imbued with a sense of menace against black backdrops and harsh spray painted lines.

Painters» canvas was too expensive for him (this painting is 105 ″ x 207 ″), so he used what he could afford and this material came in huge rings that could be bought at a significant discount.

In 1964, on return from his first visit to New York, Hoyland started work on a group of paintings that seemed to signify a maturation point; Mel Gooding has described them as «an astonishing series of huge acrylic canvases of high - key deep greens, reds, violets and oranges deployed in radiant fields, stark blocks and shimmering columns of ultra-vibrant colour.

All the works in the exhibition are stripe paintings, ranging from the modestly scaled black and white of Horizontal Vibrations made in 1961, to the glowing colours of six huge new canvases completed this year.

«Here is a huge body of work created by an enormous, original imagination, working in surprising idioms, and a range of materials from canvas and paint to metallic and mirrored constructions.»

With its pale pink blushes, glowing ochres and delicate blue and green stains, we're not invited to read this huge canvas, painted when she was just 23, as one depicting nature exactly, but, like Pollock, there is a sense of the elusively figurative, the organic and the primordial.

In a nutshell, what originally seemed extreme — she trowels buckets of paint onto huge canvases with palette knives and squeegees — now looks like a parlor trick.

Both paintings were done on huge canvases that would typically be used for history paintings.

Two years earlier, at Roche Court sculpture park, near Salisbury, Wiltshire, the couple had shown together for the first time in their marriage: he with a dozen huge, rusted steel pieces from the series called Flats, made in 1974 in Canada with the aid of a crane; she indoors with a sequence of vibrantly coloured canvases painted with architectural forms not far distant from his.

I can't believe how different my art became when I stopped sketching in little books and began painting on huge canvases.

Quite an unusual one but in 1973 Gerhard Richter held an exhibition at the Seriaal Gallery in Holland where he painted a huge version of his Rot - Blau - Gelb series on small canvas panels arranged in a 10 by 10 grid.

Rudolf Stingel (through April 19) Made on canvases up to 15 feet wide, each of the five huge and glamorous paintings in this show are copied in shades of gray from antique black - and - white photographs of snowy, rocky mountains near Merano, Italy, the town where Mr. Stingel was born in 1956.

After he makes a few adjustments, he slowly drags huge squeegees fully loaded with white paint across the canvas — first vertically, then horizontally — a process that grows slower and increasingly laborious as the layers accumulate.

Five paintings — huge canvases with bright colors and vivid brushstrokes of acrylic paint, six bronze castings of earlier sculptural assemblages, and an hitherto unseen monochrome sculpture of cast plaster and wooden elements painted in brilliant blue compose the exhibition.

A few days after Jean - Paul Riopelle met Joan Mitchell in Paris in 1954, Riopelle appeared at Mitchell's painting studio with «a huge bouquet of rolled canvases from the Lefebvre - Foinet arts supplies store,» writes curator Michel Martin.

The innovations in — and, of course, the bullish market for — this wave of abstract painting, including the works of Wade Guyton, whose huge «paintings» are extruded from ink - jet printers, led to an outpouring of derivative «process - based» art (Look, I spray - painted this canvas with a fire extinguisher!).

Not unlike the religious painters of the Renaissance, Hughie O'Donoghue often paints on a monumental scale, creating huge canvases and charcoal drawings that have reminded some art critics of «the Abstract Expressionism of the fifties in their heroic scale and intention.»

In 1883 he worked on his first major painting, a huge canvas called Bathers at Asnieres, 1883 (National Gallery, London).

Rejecting all forms of representational art or figuration, they also avoided the gestural abstract expressionist idiom of Willem de Kooning and Jackson Pollock, even though the latter's «action - painting» can be seen as a pioneering attempt to create an «all - over» field of colour, recalling Monet's huge water lily canvases.

The interest he provoked in collectors was such that he was given a second in November that same year, in which he unveiled his now infamous broken - plate paintings - big Neo-Expressionist landscapes made by painting over fractured pottery glued to huge canvases.

With Stella's 1965 - 1956 project Irregular Polygons, he began exploring the limits of space with huge, asymmetrical, and jagged painted canvases, upon which he imposed his distinctive geometric forms.

In her painting Fulcrum (1998 — 99), the huge canvas overflows with lusciously painted female flesh; weighted bodies are spread out and piled into a mountain, one on top of the other, all locked together in a tight embrace.

Katrin Fridriks has gained huge notoriety internationally with her unique style of abstract painting on canvas and paper, with her eclectic mix of colors that fuse the natural energies of her native Iceland — fire, water, earth and air — with contemporary pop art, graffiti and calligraphic references.

As an artist who has been variously described as «the new Turner» and «Europe's answer to Mark Rothko», the show will reaffirm Hoyland's status as an important and innovative force within international abstraction and provide new insights into the way in which Hoyland's 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 1980s.

The show puts together a huge body of work including drawings, large - scale canvas paintings and a four - part polyptych over three metres high and seven metres wide.

A huge black curtain, made from a patchwork of painted canvas, hangs ominously across the room.