Sentences with phrase «pencil on canvas which»

«Falling Blue,» 1963 [4], is six feet square, oil and pencil on canvas which actually looks like coarse, dark linen.

Not exact matches

From large paintings on canvas to fine pencil drawings that Jessica is known for, the show will also feature a stop - animation film (with music composed by Nick Powell) and a piece using electric ink which brings its own unique aural element.

The show brings together a new body of work executed in acrylic, charcoal and pencil - on - canvas, which present surreal and often discomforting scenes, accentuated by chaos.

Finally, farthest back, there's a stretched linen canvas of the same dimensions on which the outlines of the facade are delineated in pencil.

Each of his works begins as a pencil sketch, which is then replicated on the canvas, before the application of finely blended acrylic paint.

Also of interest are a series of photographs by Anne Sager, James Brooks's The Springs (lithograph, 1971), Marcia Gygli - King's Main Beach, East Hampton (oil on canvas, mixed media frame, 1988 - 91), and Terry Elkins's Montauk (collage and pencil, 1994 - 97), a work which is memorable both for his signature collage technique but also for the use of shadowing, which adds a significantly suggestive intimation to the image of the Montauk lighthouse.

«Mehretu's abstract paintings, which are created with layers of acrylic on canvas followed by marks in pencil, ink and more layers of paint, were already fetching six figures in 2006.

Rather, the space is lit by diffused natural light, which intensifies the intimacy of looking at Martin's painting: the subtle variations of the pencil lines, the thin washes and layers of paint that seem to sit on the surfaces of stretched canvas.

Since then, Tuttle has presented prominent and influential series in the history of contemporary art such as the cloth pieces, which he installed dyed and cut canvas on the wall, and were both pictorial and three - dimensional, and the wire pieces, which consisted of wire and its shadow and pencil lines, and small - scale collage pieces among others.

At the entrance, the large elaborately textured and tinted, latently Symbolist paintings on paper by Kerstin Brätsch — which suggest masses of rustling silks or feathers — flank a wall of works from which they could not be more different: Joe Bradley's emblems simply outlined in grease pencil on raw canvas, redolent of children's drawings.

Henry Brown, Gradual Reduction, 2007 Acrylic, pencil & gesso on canvas, 8 x 10 inches June 7 — July 28, 2007 The Story Goes explores the way in which artists create narratives with minimal reliance on the traditionally expected carrier of story - telling, the representation of human form.

Kettle's Yard is showing 10 canvases from her last years (she died in 2004 aged 92) alongside one well - known painting of 1965, the Tate's «Morning», and a suite of 30 screenprints titled «On A Clear Day» — all of which represent grids whose original ruled pencil lines are reproduced with illusive accuracy.

During those years he created his first works with pencil on canvas and ink on photographic prints; in them, he mixed words and diagrams to explore the relationship between the body and its environment, and the processes by which man perceives and imagines.

The Montreal based artist uses oil and pencils on a wood canvas in her «Matter and Memory» series, which explores elements of the natural world.

Burgher's current practice vacillates between his extraordinarily intricate colored pencil works on paper, in which the figure is often present, and much larger acrylic on canvas drop cloth works which are essentially abstract and filled with a growing lexicon of personal symbols.

Her paintings of the 1960s, which feature square formats, grids, penciled lines drawn on canvas, as well as compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

T03191 Oil on canvas, 914 x 911 mm (36 x 35 7/8 in) Inscribed by the artist in pencil on back «CHANCE, ORDER, CHANGE 12 (RED, GREEN, BLUE, MAUVE) 1980 Kenneth Martin» on upper stretcher Purchased from the Waddington Galleries, London (Grant - in Aid) 1980 Exhibited: Kenneth Martin: Late Paintings, Serpentine Gallery, London, June - August 1985 (not in catalogue) Forty Years of Modern Art, Tate Gallery, London, February - April 1986 (no number, reproduced in colour) Kenneth und Mary Martin, Josef Albers Museum, Bottrop, March - April 1989 (60) Literature: Tate Gallery Acquisitions 1980 - 2, London 1984, p.176 - 7, reproduced The series of Chance, Order, Change compositions to which Chance, Order, Change 12 (Four Colours) 1980 and the closely related Chance, Order, Change 6 (Black) 1978 - 9 (Tate T03190) belong was begun by Kenneth Martin in 1976 and continued until his death in 1984.

«Ah, it goes, is lost,» Twombly scrawled in pencil on one of the four tall canvases, in a reflection of some of the themes to which he often returned: time, love, and doomed desire.

Her paintings of the 1960s, which are distinguished by square formats, grids, penciled lines drawn on canvas, and compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

From large paintings on canvas to the finely renender pencil drawings that Albarn is known for, the show also features a stop animation film and a piece using electric ink which brings its own unique aural element.

On top of this base coat of paint the artist measured out and marked with pencil rectangular bands across the width of the canvas, into which she painted alternating duck - egg blue and pale peach «salmon - brick» colours using a different type of acrylic, Liquitex, which gives a translucent and tempera - like finish.