Sentences with phrase «poured paint techniques»

For a series of large - scale paintings, he used poured paint techniques and then moved on to geometric abstraction.

The Acrylic Pour Painting technique can yield exciting results whether you use the quicker «dirty pour» method or a careful more considered approach.

For the Pour Painting technique...

In the last years of his life, Pollock's fascination with different types of paper led him to special handmade sheets that allowed the paint to permeate below the main layer, thus achieving fortuitous variations of his well - known poured painting technique.

Her work also contains numerous arthistorical references that range from Abstract Expressionism to Minimalism, encompassing in particular Jackson Pollock's drip paintings and Morris Louis's poured paint technique.

As a painting technique which uses paint or any other liquid medium, the pouring painting technique relies on experimentation with materials and colors.

Not exact matches

To get the ball to look brown, try this neat technique: open the top of the ball, pour a bit of brown paint inside, and then swish it around so it fills up the ball and gives in an interesting brown shade from the outside.

Easy step - by - step instructions along with a video to help teach you paint pouring techniques.

Frankenthaler, energized by Jackson Pollock's all - over method of painting, pioneered the technique of pouring paint onto unprimed canvas early in her career.

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

His technique of pouring and dripping paint is thought to be one of the origins of the term action painting.

In these new pieces, Poons relies entirely on brushwork where before his process involved a range of technique from pouring paint to collage.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

Important among them was the propensity to get very physical with paint and to take into new terrain the pours and drips of Jackson Pollock and the staining technique of Color Field painting.

Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting.

Paul Jenkins was a prolific American abstract artist, known for his unusual chance - based, paint - pouring and fate - tempting painting technique.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

Pollock studied under Thomas Hart Benton before leaving traditional techniques to explore abstraction expressionism via his splatter and action pieces, which involved pouring paint and other media directly onto canvases.

It shows her working past the sheer density of the first generation, with a new technique of poured paint on unsized and unprimed canvas.

He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.

Frankenthaler did not invent the technique of poured paint, but she did mix turpentine into her bright colors so that they moved to a distant pole from Pollock's black enamel.

In the Creation series, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, as the imagery depicts the sequence of events leading to the Fall of Man.

A technique in which paint, or another liquid medium, is poured to create a flowing, (most often) abstract composition.

Extending the post-painterly abstract techniques of pouring and staining, Saccoccio creates skeins of crisscrossing drip lines, often adding pure dry pigment to the wet paint, imbuing them with colors not normally seen in daily life.

Lavender Mist was painted in Pollock's studio on Long Island when he had transitioned to his signature technique of pouring, flinging, and dripping paint onto unstretched canvas laid on the floor.

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.

A radical use of color is not the only thing that sets this work apart, Pollock's technique also made use of unprimed canvas, onto which he poured (as opposed to dripped) and soaked the paint into the surface.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

It was at this time that he made a deliberate decision to move away from the defining «drip» technique that had brought him critical acclaim and to experiment instead with a new «pour» in treacly black paint.

This exhibition did not change my view of Jenkins who, unlike Bluhm and Francis, became enthralled with a particular technique, that of pouring paint and tilting the canvas to guide its flow.

During this period, she developed her influential «soak - stain» technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

In 1940 Hofmann created his painting «Spring» (not part of this show) by dribbling, splashing and pouring paint directly onto his canvas, anticipating by several years the signature drip technique used by Jackson Pollock.

The works in the 2013 exhibition revealed Frankenthaler's invention of the technique of pouring and brushing turpentine - thinned paint so that it soaked into raw canvas.

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is poured directly onto an unprimed canvas.

With a range of traditional and nontraditional materials, including acrylic and oil paint, ceramic, paper, canvas, carpet, and larvae, as well as varying techniques — from painting, pouring, cutting to burning — the artists employ different degrees of chance, and some more than others.

Jackson Pollock, for example, inspired her to develop her own technique of «stain painting,» pouring thinned paint onto unstretched, unsized cotton canvas to develop her artistic visions.

Beyond doors, Hume has depicted windows, flora, fauna and Michael Jackson, all in his trademark technique of using commercial house paint poured onto aluminum panels.

But then Frankenthaler, though she never departed from what was soon to become her trademark staining technique, in which she poured thinned paint, initially oils, then acrylic, onto raw canvas, leaving the paint, blooming and thinning at the edges, to sink into the weave but remain luminous, wasn't an artist who often repeated herself.

In his Creation series, for example, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, while the imagery depicts the sequence of events leading to the Fall of Man.

Pollock reveals the life of the painting through «actions,» an energetic technique of dripping and pouring paint on a canvas that is placed directly on the floor.

Frankenthaler first began staining thin, luminous paint into raw canvas in the early 1950s, adopting Jackson Pollock's technique of all - over poured pigment but without the gestural drawing marks.

Obviously it's a layering technique, with templates put down and pours applied over them and the templates removed, and the whole cycle repeated until a final decision is reached about the painting.

Artists in this exhibition refresh the fluid painting techniques associated with postwar abstraction, while reflecting the influence of digital culture through the process of pouring paint.

His paintings use the by - now venerable abstract painting technique of pouring to risk a certain loss of control, and yet by using blown - up stencils to interrupt these random flows with fragments of words, images, or hand - me - down decorative motifs, he constantly keeps a discursive, referential function in play.

Inspired by Pollock's pouring and dripping of paint, as well as by the watercolors she herself had produced the previous summer, Frankenthaler's soak - stain technique enabled an entirely new experience of pictorial color: fresh, breathing, disembodied, exhilarating in its unfettered appeal to eyesight alone.

During the 1950s, Frankenthaler developed that influential technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

Mr. Onslow Ford shared the Surrealists» interest in dreams and the unconscious, and began making spontaneous paintings by pouring paint onto canvas in a process called coulage, predating Jackson Pollock's drip technique by a decade.

He used the techniques associated with action painting, such as dripping, pouring and splattering, and also used staining and worked with traditional brushes.

Moses employs various tools and techniques, and during his process paint might be poured, dripped, dragged or wiped down the canvas.

These beautiful paintings embrace accident, staining and the canvas fabric through a technique of pouring, staining and dripping.