Sentences with phrase «painting support the artist»

Many of the works are painted on cast plastic, a painting support the artist started working on for his last exhibition.

Not exact matches

2015.06.25 RBC unveils Canada's top 15 emerging artists for prestigious Canadian Painting Competition Canada's finest up - and - coming artists celebrated and supported by RBC and Canadian Art Foundation...

We might choose an artist to support monetarily or with encouragement and prayer for a month, connect with local artists and find out what their supply needs are (paint, canvas, etc. is expensive), invite an artist to paint live at an event, commission them to make art for your family or one of your church's ministries.

The sale, which runs through November 22, is a great chance to support local emerging artists, and maybe find a painting, drawing, culture, photograph, or piece of jewelry to bring home.

From the mural's exquisite craftsmanship, Saturno and his colleagues deduce that it must have been painted by a group of artists trained for the task and supported by the state or by members of the court who had sufficient wealth to commission such a work.

In «Tulip Fever,» he portrays an artist in 17th century Netherlands who falls in love with a married wealthy woman he is hired to paint, played by Alicia Vikander, a 2016 Oscar winner for Best Actress in a Supporting Role for «The Danish Girl.»

The year is 1940, and Catrin Cole (Gemma Arterton) needs to make some money to help support herself and her starving - artist husband Ellis (Jack Huston), a wounded veteran who paints the sort of dark, expressionistic work of the horrors of war that nobody wants to buy at this time.

The film — about a young woman who has a passionate affair with an artist sent to paint her portrait — was thought to be a potential awards contender, in part because of the presence of Vikander who won last year's best supporting actress Oscar for «The Danish Girl.»

What I need (and hence the Kickstarter) is to support my wonderful artist for the 300 - odd days it's going to take him to draw, ink, colour (in some cases paint) and letter the book.

Artist Mark Barone is painting 5500 dog portraits to support companion animal welfare.

She supported many young artists, offering them accommodations at the castle, and her personal art collection totaled over 600 paintings.

Maybe all it would take would be the artist also painting miniatures in their same style and same themes so that the audience who loves them could afford to support them.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

The young artist is also steadfast in her support of charitable organizations, among them Avalon, New Jersey's Helen L. Diller Vacation Home for Blind Children; last night saw de Forest take part in a special painting session at the Ocean Galleries, where she worked together with students to create a piece of artwork to be donated to the Diller Home.

These simple themes which were constantly revisited and revised throughout the artist's career supported, somewhat paradoxically, an extraordinary artistic rigour and tireless passion for probing the possibilities and limitations of painting — its ability to present the real and express materiality upon the two - dimensional planar surface of a canvas.

He worked at various odd jobs to support himself while painting and in 1935 was president of the Baltimore Artists» Association.

Untitled # 5 Artist: Agnes Martin 1912 - 2004 Date: 1994 Classification: painting Medium: Acrylic paint and graphite on canvas Dimensions: support: 1525 x 1528 x 35 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes Artist: Agnes Martin 1912 - 2004 Date: 1994 Classification: painting Medium: Acrylic paint and graphite on canvas Dimensions: support: 1525 x 1528 x 35 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes Martin

Happy Holiday Artist: Agnes Martin 1912 - 2004 Date: 1999 Classification: painting Medium: Acrylic paint and graphite on canvas Dimensions: support: 1525 x 1525 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes Artist: Agnes Martin 1912 - 2004 Date: 1999 Classification: painting Medium: Acrylic paint and graphite on canvas Dimensions: support: 1525 x 1525 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © estate of Agnes Martin

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

The artists are each represented by a particular body of work made in series, demonstrating different approaches to the painting process and using different formats and supports.

Caroline Artist: Alberto Giacometti 1901 - 1966 Date: 1965 Classification: painting Medium: Oil paint on canvas Dimensions: support: 1295 x 806 mm Purchased with assistance from the Friends of the Tate Gallery 1965 © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2018

The Joan Mitchell Foundation provides emergency support to US based visual artists working in the mediums of painting, sculpture, and / or drawing, who have suffered significant losses after natural or man - made disasters that have affected their community.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

Surface Truths: Abstract Painting in the Sixties considers the work of 17 artists and the directions they pursued as they moved away from an aesthetic that supported a self - evident creative process to an aesthetic seeking to expunge gesture, pictorial depth and illusion.

Beale supported her family through her work as an artist, and her husband Charles acted as her studio assistant, preparing her canvases and paints, purchasing supplies and managing her accounts.

The artists range from Yves Klein, who applied his single, flat shade of blue indiscriminately, to Ryman, who nurtured the materials of paint and its support.

The basic support for paintings was rethought by artists like Ralph Humphrey (shaped canvases) and James Havard (substituted a molded plastic support for canvas).

Such was the case of an extraordinary group of Brazilian artists who sent their paintings to a group show in London as a sign of a support.

And Kusama's first paintings in New York earned the support of key Minimalists and conceptual artists.

As patrons of emerging artists, Michael and Susan Hort don't wait for museums to ratify the talents they support before buying a painting (or four)-- they put in the legwork of curators themselves, shuttling out to industrial neighborhoods to inspect the still - wet work of up - and - coming artists in their studios.

Rather than assembling a group of artists who are concentrating on the demise of traditional painting supports — torn, shredded or punctured canvasses, exposed stretcher bars, paintings hung backwards, oddly shaped canvases, painting as sculpture, etc... this exhibition will focus on works that address time as a subject, or are time - sensitive.

The students have been encouraged and supported by artists Teresa and Alicja to explore and present their ideas in a wide range of media from sculpture and painting to photography and film.

Investigating approaches to painting, the use of medium, the way we paint, challenging easel painting by holding the structure freely in one hand and applying paint through the other — this allows a more fluid approach to painting, an almost organic process in which artist, support, media and brush work in unison without normally rigid intervention of easel or wall.

The exhibition is supported by artist Christiane Kubrick, the director's wife of 41 years, who will be exhibiting a painting and Jan Harlan, Kubrick's Executive Producer for 28 years.

In addition to promoting the works of Robert Rauschenberg, who died in 2008, the foundation supports artists in the many fields in which he worked — painting, photography, sculpture, printmaking and performance.

Antony and Cleopatra Artist: Gillian Ayres OBE 1930 - 2018 Date: 1982 Classification: painting Medium: Oil paint on canvas Dimensions: support: 2893 x 2872 mm Purchased 1982 © Gillian Ayres

Your generous support makes it possible for The Painting Center to provide programs that advance the status of artists and curators.

After attaining a diploma in Transpersonal Art Therapy, with the idea that it would provide her with a means of support while following her true path as a painter, Warren eventually discovered that she had been drawn to painting primarily «for my own healing and evolvement as a person, as an artist.»

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

Skowhegan School of Painting & Sculpture, support for construction of new building for artist studios.

Grey and Green Painting Artist: Antoni Tapies 1923 - 2012 Date: 1957 Classification: painting Medium: Oil paint, epoxy resin and marble dust on canvas Dimensions: support: 1140 x 1613 mm Presented by the Friends of the Tate Gallery 1962 © Foundation Antoni Tapies, Barcelona / ADAGP, Paris and DACS, LonPainting Artist: Antoni Tapies 1923 - 2012 Date: 1957 Classification: painting Medium: Oil paint, epoxy resin and marble dust on canvas Dimensions: support: 1140 x 1613 mm Presented by the Friends of the Tate Gallery 1962 © Foundation Antoni Tapies, Barcelona / ADAGP, Paris and DACS, Lonpainting Medium: Oil paint, epoxy resin and marble dust on canvas Dimensions: support: 1140 x 1613 mm Presented by the Friends of the Tate Gallery 1962 © Foundation Antoni Tapies, Barcelona / ADAGP, Paris and DACS, London 2018

The exhibition «In Different Ways» at Almine Rech Gallery focuses on how artists have developed unique techniques — at times diverse within their own oeuvres — using a brush, airbrush, spray paint, silkscreen and even pouring paint, collaging a range of materials, questioning canvas and wood support structures, or a combination of these processes.

One recent series of paintings, for instance, relies upon supports made from store - bought fabrics — some single - hued, others patterned — on which the artist affixes fishing lures.

US National Academy members pen open letter defending Dana Schutz Over 70 members and members - elect of the US's National Academy of Art have signed an open letter in support of a solo exhibition of work by artist Dana Schutz at Boston's Institute of Contemporary Art, after activists petitioned the ICA to cancel the show following the controversy over Schutz's painting Open Casket, which was exhibited at this year's Whitney Biennial (read Apollo's review of the Whitney exhibition here).

The acquisition further deepens our commitment to African American artists and we're thrilled to include the painting in our upcoming exhibition, Soul of a Nation: Art in the Age of Black Power, which will also include the work by Virginia Jaramillo that we added to our collection last year through the support of the fund.»

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

If the 1970s ended with a unprecedented maturation in the visual arts spectrum and the foundations for increasing infrastructural support, the 1990s ended with increased visual and intellectual traffic between mediums: painting was informed by issues and innovations in photography, video and digital technologies, and in return, artists working in technological mediums addressed painting in many different and unexpected ways.

Each painting that I love gives me something I can use in my work and something that supports me as an artist.

During the period just before and just after the Russian Revolution El Lissitzky, Malevich and other Russian artists used these same colors in their paintings and their prints to assert an ideological position in support of the Bolsheviks (the Reds) against the counter-revolutionaries (the Whites).

Orange Time Artist: Larry Zox 1936 - 2006 Date: 1965 Classification: painting Medium: Acrylic paint on canvas Dimensions: support: 2235 x 2489 mm Purchased 1968 © Larry Zox, courtesy Stephen Haller Gallery, New York