Sentences with phrase «scale oil paintings from»

Here, three new large - scale oil paintings from the series Mother (2017 — 2018) are presented in conjunction with a painted steel sculpture of a female nude.

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.

Among the work on view will be mural - scale oil paintings from the Power Play series (1982 - 86) and a large free - standing stained glass Rainbow Shabbot from The Holocaust Project (1985 - 1993).

The Henry is pleased to present a focused exhibition of works by the celebrated artist Sean Scully with a presentation of the artist's photographic Harris and Lewis Shacks portfolio, from the museum's permanent collection and October a large scale oil painting from the same period.

Not exact matches

More than 20 large - scale oil paintings will be on view alongside 50 never - before - exhibited works from the 1930s, which show the artist working in watercolor and gouache on paper.

On view until February 18, 2018, the work uses sculptural reliefs to enhance large - scale photographs of the artist standing in front of oil paintings from the permanent collection of the Metropolitan Museum of Art: Otto Dix's The Businessman Max Roesberg, Dresden (1922) and Balthus's Girl at a Window (1957).

In the last few years New York - based artist Michael Williams (born 1978) has evolved from making large gestural oil paintings to similarly scaled paintings printed with a billboard - sized inkjet printer.

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.

For his exhibition at Victoria Miro Mayfair, Khan has produced large - scale composite photographs made from a series of oil stick paintings.

From «Mother» (2017 — 2018), three new large - scale oil paintings, which borrow their imagery from Disney films, are shown in conjunction with a painted steel sculpture of a female nude in a classical twisted pFrom «Mother» (2017 — 2018), three new large - scale oil paintings, which borrow their imagery from Disney films, are shown in conjunction with a painted steel sculpture of a female nude in a classical twisted pfrom Disney films, are shown in conjunction with a painted steel sculpture of a female nude in a classical twisted pose.

March 30, 2004, Philadelphia, PA — From April 22 to May 29, 2004, Locks Gallery will present an exhibition of intimately scaled oil paintings by Warren Rohrer.

WHAT SHE MAKES: Large - scale paintings that mix traditional oil painting techniques with silkscreened images composited digitally from photo - editing software.

The exhibition, on view from November 29 — January 12, will include a dozen large - scale paintings made over the past year, using oil, acrylic, and hand - made spray - paint.

Bill White is a painter whose works range from small works on paper to large - scale oil paintings.

Faiz continues this tradition with her large - scale oil painting «Divider» (2015), by combining post-painterly abstraction with Albert Oehlen's version of abstract art, an aversion away from recognisable forms.

With no prior sketching or planned outcome, Huen's large - scale oil paintings are derived from observation of his own life, portraying quotidian experiences.

Altfest's small - scale oil - paintings are painstakingly executed and drawn from life and realised over a long period of time.

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.

For it's U.S. premiere at SFMOMA, the video work will be paired with an unprecedented showing of The Deluge (1805), a visceral and ravishing large - scale oil painting by the 19th century English Romantic artist J.M.W. Turner, selected specifically by Akomfrah to be shown alongside his work and on loan from London's Tate.

Published to coincide with the show The Sleepers at Pallant House Gallery, Chichester, and ahead of a series of important exhibitions and commissions, this beautifully designed and illustrated volume presents all the major works from her career to date, from small - scale intimate paintings in oil and enamel to ambitious high - profile public commissions and architectural projects.

Using traditional oil paints, epoxy resins, house paints and other mixed media, his abstract variations range from small explorations on paper to large - scale paintings.

Amy Sillman «s newest work includes high and low, fast and slow, large and small, and ranges across mediums, from large - scale oil paintings to a 7 - minute digital animation and several hundred inkjet prints made from stills of the animation.

Comprised of richly colored and delicately scaled oil paintings on panel, the show runs from March 28 through May 2, with an opening night reception on Thursday, March 28.

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 eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Holding a masters in painting from the Royal College of Art, Neil Raitt creates hypnotically repetitive large - scale oil paintings inspired by Bob Ross's public - television program The Joy of Ppainting from the Royal College of Art, Neil Raitt creates hypnotically repetitive large - scale oil paintings inspired by Bob Ross's public - television program The Joy of PaintingPainting.

Featuring works from the 1950s to the present, the show takes a look at his studies in oil, his large - scale paintings, his collages and cut - outs in an impressive display of colour, scale and immense skill.

The exhibition opens on the ground floor with new paintings from Colen's Mailorder series (2015 — 2018) of lush oil - on - linen screen prints, which depict images of clothing from mail - order catalogues, enlarged to a monumental scale.

Featured will be new large - scale oil paintings of artists Kara Walker, Laurie Anderson, and Zhang Huan; works from Close's ongoing self - portrait series; intimately scaled portraits of musician Paul Simon and arts patron Agnes Gund; a collection of prints; and immaculately crafted Belgian Jacquard tapestries.

The exhibition is the first to focus on Gary Hume's small - scale works and will consist of 20 oil paintings ranging in size from 9 x 12 inches to 17 x 23 inches.

Richard Banks will be exhibiting a small selection from a new series of large scale, abstract, monochromatic oil paintings.

Drawing inspiration from architectural space and natural materials, Moyer produced a series of large - scale paintings, drawings on oil paper and an architectural sculpture.

The gallery also sold two large - scale Robert Indiana paintings in oil on homasote from 1959, Golden Orbs with Chevrons and Golden Circles, at the identical asking price of $ 1.7 million.

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 later works are a Peter Doig snow scene from 2001 - 02; Whiteread's maquette for her Trafalgar Square commission in 2001 which was a resin cast of the plinth itself; the Hurvin Anderson oil painting Maracus 111 from 2004; a Conrad Shawcross maquette for his large - scale work Continuum, a three - metre - high sculpture commissioned by the National Maritime Museum; and George Shaw's Ash Wednesday, 8.30 am from 2004 - 05, one of a number of Humbrol enamel paintings the artist has made over the years of the Coventry housing estate where he grew up.

In his work for the Jerwood Painting Fellowships, Lewis draws from personal memories and associations to compose his large - scale, carnivalesque oil paintings.

In her large - scale oil paintings, scenes arise from profusions of brushstrokes, urgent, wet, heavy, dry, drag, splatter, wedge, splotch, impasto, aura.

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.

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 Eurfrom](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 EurFROM 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 Eurfrom 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 Eurfrom 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.

[83] The works range from precision - machined bronze sculptures — inspired by an inflatable of the popular comic book hero and extruded in three dimensions — to large - scale oil paintings.

The paintings, many of modest size, vary in medium from traditional oil and acrylic to gold leaf and other non-traditional materials; the drawings include graphite, ink and natural pigment drawings and range from post-it note size to much larger scale drawings.

For Conflicting Lines, his 2015 exhibition at Victoria Miro Mayfair, Khan produced large - scale composite photographs made from a series of oil stick paintings which have undergone an intensive process of overlaying lines of writing repeatedly painted on to a minimal ground, until the language became obscured.

He's definitely revered by some many artists I admire, and I can definitely see the influence on contemporary painters like Amy Sillman, Dana Schutz, Barry McGee, etc... I've only seen a few in person, and from what I remember that's the way you need to see them; the scale, the paint handling, even the smell of the linseed oil.

With no prior sketching or planned outcome, Huen's large - scale oil paintings are derived from observation of his own life, portraying quotidian experiences through a fresh set of aesthetic strategies.

He employs his painterly arsenal: mounds of dense oil pigment, torn and reassembled bits of burlap, to create a large scale head derived from a Matisse painting or a sculpture consisting of an assemblage of pieces of alabaster or rare and exotic wood evoking three dimensional marquetry to create the imposing «Menina» or the «Dama a Caballo» derived from the paintings of Diego Velázquez.

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.

The exhibition will include work ranging from large - scale ballpoint works, color - saturated multi-layered paintings, wool drawings, oil pastel works and an ink scholars» rock.

Once the paint is almost dry, the artist scrapes the «oil skin» from the glass surface, draping and collaging it onto large - scale canvases, obscuring the original painted imagery, and resulting in a wholly new composition.

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.