Sentences with phrase «scale oil paintings as»

For his second solo outing at the gallery, White will exhibit large - scale oil paintings as well as smaller works on paper, in which he continues his examination of the interstices between representation, abstraction and the tactile sphere of everyday life.

Not exact matches

Osborne's swagger seems a bit subdued as we wind our way through the laboratories and testing pools, past scale models of tankers and oil platforms detailed down to the company logos painted on their sides (no photos allowed).

It tracks Elaine de Kooning's development as a first - rate, innovative portraitist through variously sized drawings, figure studies, trial sketches and small paintings across five decades, with each room dramatically highlighting the best of her large - scale oil paintings, some never exhibited publicly until now.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

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.

As in her iconic series Azulejões, where the artist amplifies the scale of the blue and white Portuguese tile, these new three - dimensional oil paintings have grown from her fascination to develop a technique that would allow her to reconstruct 19th century Pallisy ware from the celebrated Portuguese factory of Caldas da Rainha, run by Rafael Bordalo Pinheiro (1846 - 1905) one of the most relevant Portuguese artists and Palissy follower.

She used these manufactured setting as still - lifes, transcribing them into larger scale oil painting of abstract space - scapes.

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.

The display ends with Hamed Ewais's Le Guardien de la vie (1967 - 8), a large - scale oil painting that depicts a fighter, weapon in hand, while underneath him everyday events such as a wedding taking place and a child riding a bike are shown, suggesting the possibility of societal renewal following the collapse of the Pan-Arab ideal after the Six - Day War in 1967.

For her first solo outing at the gallery, the artist will exhibit oil, ink, and charcoal paintings as well as small - scale oil - painted wood sculptures.

Timothy Taylor Gallery, London until 12 July 2014 Jazz and blues have always exerted an influence on the abstract paintings of Sean Scully RA, but he has perhaps never acknowledged its influence as clearly as his new remarkable quintych at Timothy Taylor — A Kind of Red (2013), comprised of five large - scale oil - on aluminium panels, in response to Miles Davis's modal classic A Kind of Blue.

As the name «Initiations» suggests, the works in the Enitharmon exhibition are modest and small - scale, but in her major oil paintings Walker is working at a growing pitch of ambition and accomplishment.

Diebenkorn achieved world fame with his large - scale canvas based oil paintings and vivid abstractions known as the Ocean Park which included more than 140 of his paintings.

Using the rapt audience of a TED Talk as subject, «I Want to Hold You Close» is an immersive installation centered on a large - scale oil painting of a crowd, effectively placing the viewer on stage.

For her first exhibition with Sean Kelly gallery and her first solo show in New York since 2014, Sam Moyer has realized a vibrant series of large - scale paintings as well as an architectural sculpture, and a range of drawings with oil on paper.

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.

What is most surprising about Sean Scully's abstract images composed of stripes and squares of colour is not their considerable emotional power, but the fact that the most delicate watercolours or tiniest etchings can evoke a mood just as well as the large - scale oil paintings.

In 2011 his oil paintings were commissioned by the MTA Arts for Transit program and are permanently installed as large - scale murals for a New York City A train subway station.

In this show, as always, she is intensively engaged with drawing and its corporeality: drawings that she makes with her little finger on an iPhone screen, and the drawing process inherent to large - scale paintings which she makes using brushes, rags, scrapers and giant oil crayons.

Mike Bouchet's large - scale oil paintings demonstrate how our cultural climate is ruled by the bewitching mixed signal known as the Double Bind.

Huang Zhiyang, who was instructed in Chinese calligraphy as a child, is recognized for his large - scale oil paintings, ink washes on silk, and drawings on paper.

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.

Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice.

The macho - scale paintings of Frank Stella, Al Held and Gene Davis are recast as domestic - scale miniatures, while the arguably masculine medium of oil painting is replaced with the feminine medium of embroidery.

One of very few large - scale oil paintings from the 1980's as well as a number of other smaller works will represent Mary Grigoriadis, an originator of the Pattern and Decoration Movement.

Across the street at the New Museum, only a few examples, such as Kerstin Brätsch's large scale oil on paper pieces, Kitty Kraus» light bulb and mirror boxes commanding large areas of the third floor and Tala Madani's small scale oil paintings evidence a similar confidence in the object as a vehicle.

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.

As with her oil paintings, Frecon's works on paper continue her investigation of a highly allusive, geometric and yet still organic abstraction; mostly small in scale, they are remarkable for their quiet presence and power.

Using the technique of oil painting as his favorite, he presents large - scale works made with an incredible hyperrealism.

T01944 FLAXMAN: UNDERSTUDY [from](SANDSEND SERIES FROM BEYOND THE WORLD»S END) 1972 [T01941 - T01944; complete] Inscribed «FLAXMAN understudy Sandsend Series from beyond The World's End» b.l., «Scale 1 = 4» b.c. and «optional orientation - preferred position Ian Stephenson 1972» b.r. Oil and enamel with ballpoint on paper treated with white polish, 30 × 40 (76.2 × 101.6) Purchased from the artist (Grant - in - Aid) 1975 Exh: 11 englische Zeichner, Kunsthalle, Baden - Baden, May — June 1973, and Kunsthalle, Bremen, July — August 1973 (Stephenson 16); Recente Britse Tekenkunst, Koninklijk Museum, Antwerp, September — October 1973 (Stephenson 16); Art as Thought Process, Serpentine Gallery, December 1974 — January 1975 (no numbers); Ian Stephenson: Paintings 1955 — 66 and 1966 — 77, Hayward Gallery, March — April 1977, also Arnolfini Gallery, Bristol, May — June 1977, and Turnpike Gallery, Leigh, August — September 1977 (72) All four studies [T01941 - T01944] were first shown at an informal British Council preview, Drawings by 11 British Artists, at the Hayward Gallery in London on 16 March 1973, immediately prior to their despatch for tour in Europe.

Alex Katz: Small Paintings looks as small - scale oil paintings by the American master known predominately for his large - scale Paintings looks as small - scale oil paintings by the American master known predominately for his large - scale paintings by the American master known predominately for his large - scale canvases.

AS Well, I've accepted Abstract Expressionist materials: the large canvases, oil paint, the scale, stretcher bars, turpentine, brushes, gestural process, a process of adding and subtracting.

The report released last week uses deeply flawed assumptions to inaccurately paint coal (and to a lesser extent, fuel oil) as the savior that prevented large - scale blackouts during the extreme cold, while greatly understating the contribution from renewable energy sources.