Sentences with phrase «side of the canvas in»

Not exact matches

In the background of the photo was a scattering of huts constructed from crates and shreds of canvas, and on all sides barren earth; but in the foreground was a little girl, extremely pretty, dressed in tatters, but with her arms outspread, a look of delight upon her face, dancinIn the background of the photo was a scattering of huts constructed from crates and shreds of canvas, and on all sides barren earth; but in the foreground was a little girl, extremely pretty, dressed in tatters, but with her arms outspread, a look of delight upon her face, dancinin the foreground was a little girl, extremely pretty, dressed in tatters, but with her arms outspread, a look of delight upon her face, dancinin tatters, but with her arms outspread, a look of delight upon her face, dancing.

Off the canvas and slugging again After ending up on the losing side in each of his first five Bundesliga matches this season, new Schalke boss, Markus Weinzierl has to be delighted with the way his side has rallied, picking up 14 points since the start of October, remaining unbeaten in six and finally producing on the road, winning 1 - 0 at toothless Wolfsburg on Saturday.

If you are new to Our Crafty Mom you will see that I love to use both sides of everything, as shown in this no sew canvas pillow.

Pair of knee - high boots in dark purple canvas with side metal zippers.

Using a canvas - style filter, the design of this game brings the lush world to life and helps your heroes shine in the foreground as you experience an epic tale, numerous side quests and more adventure than you can handle!

Jonny Greenwood: The visual side of Radiohead comes from Thom and [artist] Stanley Donwood working together while we're recording — often in the same room — on canvas, paper, computers.

Lot # 955.1 - 1925 dodge brother roadster handmade canvas carson style top with open roof bows, interior finished in tufted burgundy leather, chrome trim and roof perches, handmade through - the - frame exhaust, custom mixed color scheme consisting of celery and french vanilla, custom louvered body panels, hood and sides, custom built radiator, friction shocks, steering and blister custom body fabrication and molding.

Because of limitations in eBooks, in order to create the 20em text canvas on the right hand side of the page, Scrivener decided fake it by simply increasing the left hand margin.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

Comfort doesn't just come in the form of a soft piece of bedding and that soft - sided canvas material.

On one side, they feature plush velvet to keep pets warm in winter, while the other side is made of smooth cotton - mix canvas that is breathable and light for summer.

The left hand side of the canvas is taken up with white people cavorting and laying in the sun in a holidaying pose, while the other half is based on a photograph of Haitian refugees arriving in Florida.

In José Lerma's compact exhibition, squiggly blue lines that look like ballpoint - pen doodles form twin columns of piled spirals, rising up on either side of John Law, a large unprimed canvas on beveled stretchers.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

«Spire» (1958) stands out for its powerful evocation of space — not just as movements forward and back, but as the resolute locating of forms across the canvas; its airy, angular movement of ochres and bluish tints culminates, along one side, in a clamber of reds, blues, and a final, teetering black.

Displayed around the gallery side - by - side, essentially in deep conversation with one another, the bold statement made by the suite of blue canvases renders the Afro Margin drawings (2004 - 07) in the adjacent alcove dull by comparison.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

(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.)

On the positive side, Peter Lanyon, who was killed in a gliding accident in 1964, isn't around to mind, and there's something to be said for being able to look from one of his lyrical canvases straight out at the surf crashing on Porthmeor Beach and the edge of the windswept, ancient landscape Lanyon regarded as his personal Calvary.

A concise and surprising group show at one of the Lower East Side's newer galleries (it opened in early 2013 with a solo show by Amanda Valdez, one of the four artists in «Works Off Canvas).

In recent history, others have broken up, questioned, or violated the well - established surface of the canvas, but Nelson ventures further, as she creates an interdependence between its two sides, semiotically diluting the material in betweeIn recent history, others have broken up, questioned, or violated the well - established surface of the canvas, but Nelson ventures further, as she creates an interdependence between its two sides, semiotically diluting the material in betweein between.

The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

In Untitled (Dream) of 2005, a pigment print on canvas, the stripes and grids are gone, the scraps of fabric are relegated to the side and an empty space of color is presented.

This is beautifully realised in the first work we encounter, Camino Rojo (2017): two long, thin red oblongs emerge towards each other, from opposite sides of the canvas, as if magnetically propelled.

Other participants — including Robert Rauschenberg and Jasper Johns — were charged with painting circles and lines, over and over again, on both sides of a canvas stretched vertically in the middle of the main room.

When Schapiro increased the scale of her canvases in California for even bolder graphic statements, she created such monumental images as Side Ox (1968) with its cruciform orange bars popping from a radiant silvery surface.

Here, your face is on the surface and you actually see what it means to be a painter, you are actually dealing with the weave of the canvas and how light hits the paint on the side, things that you tend to forget about in many circumstances of viewing paintings.

«An interesting thing happens when you actually see these works side by side,» Clyfford Still Museum Director Dean Sobel said — while standing in front of a pair of nearly identical canvases — on a recent tour...

The mid-career survey, Laura Owens at the Whitney Museum of American Art (November 10, 2017 — February 4, 2018), presents around 70 paintings in different sizes — from wall - mounted works, to installations, to carefully arranged freestanding canvases painted on both sides.

In working the two sides of a canvas, Nelson eventually decides on a «front» and «back» and then permanently stretches the canvas accordingly.

On the Greenberg side, Frank Stella — whose 1959 painting Marriage of Reason and Squalor, a stark black canvas broken by his characteristic thin white strips of unpainted canvas is included in «Action / Abstraction» — took Greenberg's formal purity to the extreme.

At Susanne Vielmetter Los Angeles Projects, not a single curved line appears in any of Wilson's 14 canvases, whose sides measure from less than 1 1/2 feet to more than 7 feet.

On the eighth floor, Ms. Owens leaps into the round, in an installation piece consisting of five free - standing canvases painted on both sides.

The interrogative title is printed in acrylic on the canvas, as is a response of sorts: «Do you sense how all the parts of a good picture are involved with each other, not just placed side by side?

It ranges from a rebus - like experimental film telling a French fairy tale (also on display, incidentally, in a concurrent show at Michael Werner gallery on the Upper East Side), to a full - sized recreation of his own Brussels apartment — the walls studded with words relating to art - making («Canvas,» «Museum,» «Composition,» etc.).

On the other side of the world, in Italy, Lucio Fontana worked in a similar way in his «Spatial Concept» series simultaneously — his signature was a slash, sometimes several, on single - colored, cloth canvas.

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 Tuymain 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 Tuymain 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 TuymaIn 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 Tuymain 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 Tuymain 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 Tuymain 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 Tuymain 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.

After spending a significant amount of time amid the greener sides of Birmingham the expressive Lucy McLauchlan has developed her approach and intervention with the natural world, resulting in a unique showcase of abstract naturalistic canvases alongside an organic installation display.

For example, in Untitled [9/68] 1968 (T12242), he divided the canvas in half with a line along the diagonal and placed on either side, and at angles to one another, two linear grids coloured yellow, filling in the blocks of the grid in the upper right variously pink, lavender, and pale and dark blues.

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.

In Untitled (Suite «Blancs»)(1973), Hantaï also engages both sides of the canvas, using the back of an earlier oil painting as his support; faint color patches from the original work are visible within the colorful pattern, fulfilling the artist's desire to «draw out the qualities of the reverse.»

«An interesting thing happens when you actually see these works side by side,» Clyfford Still Museum Director Dean Sobel said — while standing in front of a pair of nearly identical canvases — on a recent tour of the just - closed Repeat / Recreate exhibition.

In the next room — a low - ceilinged former workshop — Barlow gathered pipes, planks and flattened cardboard boxes, taping them together to form a ceiling - scratching bundle, clad on one side with a mosaic of irregularly sized, painted rectangles of plywood joined into a flat sheet to form a canvas - insinuating plane (untitled: stashhoarding).

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.

The top and the bottom of the mat and canvas line up, tightly framing the woman's body; to create the illusion of depth, the sides of the mat slant in, creating a queasy sense of something awry.

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.

Unlike Pollock, he continued to apply paint with a brush, working from all four sides of the canvas with an eye for what he called — in an echo of the modernist doctrines of the pre-War decades — «plastic expression.»

In «Memory 4-07-1999 ′, the canvas is partitioned two - thirds of the way across by violet, yellow and green bands; to one side, outlined in red paint, is what looks like a human form, possibly that of a womaIn «Memory 4-07-1999 ′, the canvas is partitioned two - thirds of the way across by violet, yellow and green bands; to one side, outlined in red paint, is what looks like a human form, possibly that of a womain red paint, is what looks like a human form, possibly that of a woman.

Housed in one of the side wings of the mansion the collection focuses more on American Abstract Expressionism and includes some classic works by Joan Mitchell, Julius Bissier, Alberto Burri, Eduardo Chillida, Tony Cragg, Richard Diebenkorn (his black and white abstractions on paper are just as powerful as the large - scale paintings on canvas), Jean Dubuffet, Willem de Kooning, Barbara Hepworth, Agnes Martin, Robert Mangold, Philip Guston and others.