Sentences with phrase «scale oil painting on canvas»

Large - scale oil painting on canvas by contemporary Cuban artist Julio Larraz.

Architectural scale oil painting on canvas, measures 70» by 70.5».

Not exact matches

His large - scale works begin as drawings either on paper or on the computer screen before they are printed or transferred to canvas and then embellished with oil paint.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

Engaging in their complexity and enigmatic in their elusiveness, John Mills shows his most recent large and small scale graphite and oil paintings on canvas with Rosamund Felsen Gallery.

Her large - scale oil on canvas paintings question how art can become a place by its interaction with the environment and how the space can become the artwork.

The show will feature new work by the artist, including five 11 - foot - tall oil on canvas paintings and eight smaller - scale works.

Working in oil on canvas, ink on paper, and mixed - media collage, Krasner produced works characterized by a sensuous painterly style, her large - scales collages often formed from the artist's own cut - up paintings and drawings.

Below you can find more pictures including 3 paintings with oil and acrylic on canvas and a large scaled mural made in Bordeaux in 2015.

Trey Egan's second solo exhibition at Cris Worley Fine Arts includes eight large - scale abstract oil paintings on canvas that animate and transform the white walls of the gallery into a torrential color storm.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

Sappers and Miners will include a series of large - scale paintings produced in oil on canvas.

Future Glow will include large - scale paintings in oil on canvas.

While they often resemble large - scale collage, Kim Fisher's systematically painted canvases are created through a process of layering oil on linen.

The early works prepare the way for such important paintings as Hemlock (1956), Ladybug (1957), and George Went Swimming at Barnes Hole, But It Got Too Cold (1957), large - scale works that signal Mitchell's energetic yet controlled mastery of oil paint on canvas.

For this large scale work Samorí used a composite technique - oil painted monotypes are laid on assembled papers on canvas uniformed by a coat of tempera.

The exhibition features a selection of large - scale works on canvas as well as relief sculptures comprised of oil painted televisions and small assemblages of found objects.

The artwork on display is painted on large - scale canvases with oil.

The works exhibited consist of oil and acrylic paintings on canvas, woodwork, paper works, small scale drawings and found objects.

Thereafter, artists moved on to large - scale canvases, to which they applied oil paint thickly, with a spatula, palette knife, or brush, or directly from the tube.

The show includes small, medium and large - scale works that fall into two broad categories: acrylic - and - gesso paintings on canvas, and oil paintings on gesso board.

Swing Landscape [fig. 1][fig. 1] Stuart Davis, Swing Landscape, 1938, oil on canvas, Indiana University, Bloomington, Ezkanazi Museum of Art was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large - scale paintings for specific sites in New York.

The gallery's booth (G2) will include Joel, a large - scale oil - on - canvas portrait of American sculptor Joel Shapiro by Chuck Close; an elegant sculpture by Alexander Calder; a stained glass sculpture homage to the legendary Brazilian architect Oscar Niemeyer by Brian Clarke; and a painting by Mark Rothko.

This technique is evident in oil paintings and also in large - scale watercolours on paper mounted on canvas.

His pieces are created through a method he developed himself: He reproduces images in thick oil paint on a piece of glass, scrapes off the «oil skin» from the glass when it's dry, and collages these pieces over large - scale canvases to create totally new art pieces — proving, of course, that there's more than one way to skin a canvas.

Of these connections, I note an interest in paintings of modest scale (a stated interest which is not consistently reflected by the paintings chosen for Reinventing), in «low - key» or unassuming compositions, and a fixation on the artists» renewed «curiosity about paint's material possibilities» («Provisional») and their «rediscover [y][of] the possibilities of painting on stretched canvas, and working with oil paint, figure / ground relationships, [and] applying paint with a brush instead of spraying or folding or pouring or staining» (Reinventing).