Sentences with phrase «scaled painted panel»

For Liberty & The Land, Villalongo has created a monumentally - scaled painted panel in the form of George Washington's silhouette.

Not exact matches

«Saturn Paintings refers to series of large, carved, and painted plywood panels,» Zansky explains, «and is thus a particularly apt title for a series engaging with a cosmic scale which exceeds our comprehension and representation.

Science Lesson (1982 — 83), a large - scale piece of acrylic, spray paint, and photographs mounted on four Masonite panels is estimated to sell for $ 400,000 to $ 600,000.

At the Pulitzer Arts Foundation in St. Louis, where the 28 - foot - tall Kelly work composed of two monochrome aluminum panels painted blue and black is permanently installed, Mr. Ligon has free - associated on the political, formal and poetic interplay of these two colors in a large - scale exhibition he has organized.

After Mitchell moved to France, she adapted two - and sometimes three - panel formats, because her studio spaces, first in Paris, and then even in Vétheuil, were always too small for her vision and for the newly required scale for serious painting.

His recent solo exhibitions at the Museum of Contemporary Native Arts in Santa Fe, New Mexico (2012) and at Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba (2013) highlighted his most recent work — a striking series of small works on paper and panels and an impressive collection of large scale paintings on canvas — work he describes as «rooted in Indigenous abstraction and Modernist aesthetics».

Known for large - scale abstract works including paintings made up of multiple panels, Prvački also maintains a prolific drawing practice.

The exhibition's title, With Curve, is inspired by Innes» newest series of paintings made on large - scale, asymmetric aluminum panels.

Large but not too large, her major paintings consist of two wood panels, stacked vertically and each of the same scale.

Similar to his multi-panel landscape paintings, these large - scale images of the Yosemite Valley are printed on four panels and solve the problem of capturing the vastness of Yosemite in a single image.

In Marc - François Auboire, a striking large - scale piece from 1988, Schnabel painted on broken plates glued to a heavy wooden panel.

Mitchell worked for the most part on large - scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

Following his debut exhibition at the gallery earlier this year featuring small - scale paintings of his studio, this exhibition will introduce six new oils of the artist's studio that range in size from single panel paintings 5x4 feet to a nearly life - size triptych 7x12 feet.

Gerhard Richter's new project, «4900 Colours,» comprises 196 square panels of 25 coloured squares that can be reconfigured in a number of variations, from one large - scale piece to multiple, smaller paintings.

Titled STUDIO PAINTINGS, the exhibition is comprised of small - scale oils on panel inspired by the artist's cramped workspace, which he portrays in minute detail, and from an often vertiginous point of view.

Just as Murray constructs her paintings of many panels, she forms her drawings, most of which are large scale, from several sheets of paper that have been cropped to conform to the irregular outline of the image.

Hoseini's small - scale works of ink, acrylic, and pencil on panel extend architecturally into the exhibition space through site - specific wall paintings.

May 23 - August 4, 2013 Widely admired for his abstract paintings on panels, Ron Johnson also modulates color, shape, line, and transparency to stunning effect in large - scale, architecturally integrated installations — most recently, in a new work made for the gallery's summer lounge.

Composed of 196 panels, each consisting of 25 coloured squares that can be arranged in 11 core configurations, this work pursues the artist's early investigation of colour field paintings which he began creating in 1966 by replicating, in large scale, industrial colour charts produced by paint manufacturers.

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.

This is a large scale painting on panel by Nancy Lorenz.

The paintings, intensely detailed, small - scale organic abstractions (measuring no larger than 18» x 14»), are meticulously rendered with acrylic on masonite panels.

Gary Hume (born 1962) first found acclaim in London in the late 1980s, when his bold paintings of hospital doors, rendered at life - size scale in high - gloss hardware store paints on aluminum panels, drew much attention and ushered Hume into the ranks of the Young British Artists.

Modest in scale, Quaytman's paintings on beveled wood panels proffer richly conceived, multilayered subjects.

Personal and political themes are explored in a new series of large - scale tar paintings, where rubber and tar is applied to wood panels creating monochrome, textural compositions.

Approximating the scale of the text of the actual banner, six - foot high panels become a painted translation of voice literally shouting the word «WOMAN» and nearly exceeding the size of the gallery space.

Jack Whitten Ribbons of Honor 2009 acrylic collages on painted panel In the exhibition, small - scale paintings Ribbons of Honor, demonstrate Whitten's ability to shock and awe with color, surface tension and geometry.

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.

In this series, Wiley paints young African American men in poses reminiscent of Memling's tightly composed, small - scale portraits, and encases these images in sturdy, wooden - framed boxes with panel doors.

Finch's talk at the New School will focus on the artist's various public and large - scale installations like A Certain Slant of Light (2014 - 15), a site - specific installation at the Morgan Library inspired by its collection of medieval Books of Hours; Trying to Remember the Color of the Sky on That September Morning (2014), a commission for the National September 11 Memorialand Museum composed of 2,983 individual watercolors representing the artist's recollection of the sky on September 11, 2001; Painting Air (2012), an installation of more than 100 panels of suspended glass inspired by the colors of Claude Monet's garden at Giverny; and The River That Flows Both Ways (2009), a permanent installation on New York's High Line featuring an existing series of windows which Finch transformed with 700 individual panes of glass representing the water conditions on the Hudson River over 700 minutes in a single day.

For his first exhibition of paintings in a decade, the artist will feature two large - scale oil on panel works (each measures approximately eight by sixteen feet and seven by twelve feet respectively), six smaller paintings on panel and a number of collage works on paper.

The sixteen works range in scale from the smallest wooden panel Oval Vermell / Red Oval at 1 x 1 1/2 ft, to the monumental Pais d'Avatamsaka / Land of Avatamsaka at 8 x 17 ft.. The word tàpies translates from Catalan as walls and the notion of a wall has influenced how Tàpies has approached painting since the mid-fifties, when in Paris he discovered Brassai's photographs of walls emblazoned with graffiti.

Ryman has also created large - scale panel paintings including a 1968 exhibition of six paintings composed of nine panels each at Konrad Fischer, Düsseldorf, and VII, a seven - panel installation exhibited at the Stedelijk Museum, Amsterdam in 1975.

While many of the works in the exhibition engage with a looser, more experimental approach to form, color, and composition, others relate more directly to fully - realized works, such as his proposals for compositions for To The People of New York, a large - scale installation of paintings comprised of forty metal panels grouped in variations of red, yellow, and black, which occupied most of his artistic focus during the last year of his life.

The exhibition includes a series of large - scale paintings, on linen and panel, and a wall - piece related to Takenaga's current installation Nebraska at MASS MoCA.

this show will include large scale poured oil paintings and graphite drawings on aluminum panel.

Brush strokes repeat, become transparent, are sliced and phase shifted, are drop - shadowed: the same way in the computer you might copy and paste, scale up or down, invert hue, blast saturation, push contrast and apply filters of texture to «painting», Reihsen remixes these tropes across his analog panels.

Inspired by advertising billboards and by earlier mural - scaled paintings, such as Claude Monet's Water Lilies, he designed its 23 panels to wrap around the four walls of the Leo Castelli Gallery at 4 East 77th Street in Manhattan, where it would be displayed the following year.

New drawings made with India ink on reflective chromed panel from the series Golden, which includes a large - scale triptych measuring more than three and a half meters, continue Fernández's inquiries into materiality and mining, traditional landscape painting and the cultural significance of gold.

Among previous projects are A Certain Slant of Light (2014 - 15), a large - scale installation at The Morgan Library & Museum inspired by its collection of medieval Books of Hours; Trying To Remember the Color of the Sky on That September Morning (2014), composed of 2,983 individual watercolors representing the artist's recollection of the sky on September 11, 2001; There Is Another Sky (2014), which transformed a formerly dark alley into an urban forest sanctuary at South Lake Union, Seattle; Painting Air (2012), an installation of more than 100 panels of suspended glass inspired by the colors of Claude Monet's garden at Giverny; and The River That Flows Both Ways (2009), a permanent installation composed of an existing series of windows transformed with 700 individual panes of glass representing the water conditions on the Hudson River over 700 minutes in a single day.

Having opened last Friday with great success, Hume presents a selection of new work including Berlin Bird, a major large - scale six - panel painting, a group of six paintings, four sculptures and, for the first time, five works on paper.

The focal point of the exhibition is a large - scale, three - panel painting.

Join us for the opening of Peter Howson's exhibition Prophecy, showcasing a new series of dramatic large - scale paintings and a sequence of smaller highly - worked allegorical panels.

In yet other coloured works, the juxtaposition of one painted panel against a series of similar size but different hues, produced unexpected effects of slight projection or recession, depending as much on scale as placement.

Questioning and teasing the viewer with illusions of space and trompe - l'oeil deceptions, Wright's large - scale panel paintings that adorn the walls of the downstairs spaces sit in a compromised slippage between landscape and form, portrait and expression.

His more recent artwork includes the large - scale, dense mixed - media work, The Great Barrier Wreath (2006), a three - panel painting of men, swans, and flamingos in a style reminiscent of Hieronymus Bosch; and a mixed - media installation, Ocean's Symphony (2007), that reimagines the hoax of the Fiji mermaid with a mermaid replica lying in a casket surrounded by nautical objects and video projections.

Because they succeed by getting imagination going, Walker's paintings, whether on paper or panel, work best at modest scale.

The exhibition will comprise a series of large - scale paintings, on linen and panel, and a wall - piece related to her current installation at MASS MoCA.

While I am very familiar with painting on the conventional rectangle or square I also greatly enjoy the challenges of painting on different formats whether they are large scale, on long vertical and horizontal panels, or on circular, fan - shaped and multi-panel compositions.

Without explanation, Quaytman attempted to illustrate not only the importance of the grouping, but also the work's relative scale, a sculptural proportion of stackable panels that can be (for storage purposes) potentially held neatly within one painting, and tucked away into a bookshelf for later revisiting.