Sentences with phrase «side of his canvas which»

He sometimes paints the reverse side of the canvas which sits off the wall, so as to produce a halo effect around his work.

From 1948 on, Bacon preferred painting on the reverse (unprimed) side of his canvas which suited his technique.

Not exact matches

The outer part of the bag has two canvas, elastic side pockets with pretty bows and front canvas pocket, which can be used to store things like keys and wipes.

(Although another equally powerful line of endeavor developed at the same time, in 1992 - 93: the riotously bright paintings on awning canvas, printed with stripes or flowers, which were first shown as a group only last winter at the Skarstedt Gallery on the Upper East Side.)

Gerhard Richter: Colour Charts also features an earlier work, Sänger (Singer), 1965/1966, a Photo Painting with a colour chart of various shades of red painted on the obverse side of the canvas, which provides an integral insight into the artist's conception of the series.

Her paintings result from her varied processes of staining, soaking, painting, and stretching the canvas until she decides which side is the front and which side is the back.

Derived from the artist's «Color Key» paintings, this series of striking, shaped canvases offer different variations of four - sided forms on which the artist considers formal relationships of color, line, and shape.

When I approached the canvas Encouraged Rumors from its right - hand side, I noted passages that look Cézanne-esque, like the houses of Mont Sainte Victoire which he painted over and over.

Large blocks of color seem to tumble together, but the compositions are held firm by diagonal, horizontal, or vertical stripes of darker color which originate at the sides of the canvases and move directly into the center of the composition or frame it at the edges.

She engages with the physical aspects of paint, repeatedly turning the canvas on its side to build up a dense network of layers, which sometimes appear more...

She engages with the physical aspects of paint, repeatedly turning the canvas on its side to build up a dense network of layers, which sometimes appear more sculptural than painterly.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

On one side of this canvas, which sticks out of the wall like something from a surrealist painting, bears on one side one of the blurry, photographic images that Richter specialised in during the early «60s.

There is nothing moody about their silvery, reflective surfaces or about the dazzling logic with which the bands of aluminum paint jog in and out in response to the discreetly shaped canvases, which have cutaway notches and squares at their corners, sides and centers.

The object - like, narrative motif, which in earlier works fractured the reference of the monochrome, has been removed from the now empty picture plane and fixed at the side of the canvas.

Musing on the new found color and texture, which she discovered by chance while noting the bleached out color on the reverse side of a canvas, Lynne decided to follow thru with this new direction.

In one instance, the figures have been painted on fabric printed with multicolored cartoon ghosts, which seem to waver and vibrate as the viewer moves from one side of the canvas to the other.

As the gallery press release describes it: «Working from both sides of the canvas, and often stretching and restretching it several times before deciding which is front or back, she stains, soaks and pours paint, sometimes forcing it through incisions or hosing down the canvas with water.»

Sorry, I don't have specifics about the paintings, but in the two images below — which look closely at the small painting in the picture above, you can see the odd placement of the staples holding the canvas to the frame, and a side view showing the frame itself

In addition, he also experimented with a crude method of «action - painting» (popularized by Jackson Pollock), in which he dripped paint onto a canvas from a swinging can with holes in the sides.

In his first one - man show at the Peridot Gallery in 1950, he presented stained and «dripped» canvases, influenced by his close friend Jackson Pollock, in which stains made on the reverse side of the canvas were used to generate «spontaneous» painted shapes on the front.

The title of the exhibition refers not only to the moving of the «picture» from one side of the canvas to the other, but to the cinema, with which Piffaretti has long been fascinated.

Her new paintings and works on paper present a single, animated rectangle, often thicker on the top and bottom and narrower on the sides, which sits slightly off - center at the bottom edge of the canvas or paper support.

He often utilizes torn strips of painted canvas and paper, which are collaged side by side and are further worked with calligraphic strokes.

Between 1984 and 1995, the artist cut out one side of a cardboard box, grinded and macerated it with pigment, then painted the mixture onto a small canvas, which he then stretched over the absent side of the box.

Her «Ladybug» (1957), which is now in MoMA's collection and was trotted out for its recent exhibition, is one of her signature works, with its tumble of thick or wiry, drippy strokes of orange, blue, turquoise, purple, and other colors surging in a pack emphatically toward the left side of the canvas.

He has painted trompe l'oeil thumbtacks and folds of canvas on the sides of the pieces, the effect of which is that the works inhabit a space somewhere between painting and sculpture.

In another, «Pink Roses,» the table upon which a vase of flowers sits becomes an elongated rectangle that overpowers the entire right side of the canvas; in «Flowers and Payne's Gray,» a tablecloth becomes an almost nightmarish swirl of strange dark folds.

«The recent paintings of Jorge Tacla (b. 1958), however, are made of oil paint and cold wax on canvas, so the relative shadow in which they're displayed seems to have something to do with their subject: the dark side of the human condition.

He has painted trompe l'oeil folds of canvas on the sides of the pieces, the effect of which is that the works inhabit a space somewhere between painting and sculpture.

In my kitchen reveal, I had really large cutting boards leaned up against the backsplash which is an awesome designer trick for that space, but instead I pulled the cutting boards and used the backsplash as a canvas for the prettiest little heart made of flowers this side of....