I then work from the photos and
sketches while painting the canvas.
Not exact matches
The second drawing became my blueprint for the
painting,
while my on - location
sketch provided convincing detail.
Presented are a series of
paintings based on drawings and
sketches Dylan made
while on the road from 1989 through 1992.
In 1936, Still visited the construction site of the Grand Coulee Dam on the Columbia River northwest of Pullman and
while there he created at least 10 photographs, a few
sketches and two
paintings.
Some of these
sketches evolved into more complex
paintings with multiple figures and architectural views, works that give us a bigger picture of life at Camarillo, as in the evocative scene of medicated patients in the hospital's day hall, below, which was damaged in a fire
while in storage.
Here, an artist mixes
paints with a palette knife
while holding his brushes as he makes a preliminary oil
sketch on his canvas based on the drawings spread out near his feet.
British artist Celia Hempton (at Southard Reid) has forgone her usual fascination with genitalia to produce a dashing oil
sketch of the head and torso of a man called Jochen,
while the Finnish artist Anna Tuori's exuberant
painting It's All Now You See (on Galerie Anhava's stand) is a particularly captivating jeu d'esprit.
While I do all my oil
paintings in the studio, I do work from pastel
sketches that are done en plein air.
The latter — mostly pencil, but some pen and ink
sketches, and one larger
painting — capture the hustle and bustle, and noise and chatter (largely all that which Morris sought to escape in Suffolk, despite inviting visitors and also boarding pupils to Benton End),
while the portraits offer an interesting counterpart to his flower
paintings.
One is a crazed
sketch of Rubens's fleshy
painting Samson and Delilah in the National Gallery
while another portrays a tiny Freud gazing entranced at an immense nude — a caricature of Freud's Benefits Supervisor Sleeping.
Siskind has «found» those sensuous gestures with his camera,
while De Kooning has saved them as a
sketch that was perhaps preparatory to a
painting.
That Kline's
paintings do not result from any preconceived formula is evident from the fact that, as he points out, each one has a different way of being realized — some come quickly, others go through numerous changes (white over black, black over white, repeatedly) before he considers them finished... To say he prepared for the
painting is somewhat incorrect, for
while many
sketches and drawings were done before it was started, it was as a result of looking backward that the
painting was conceived.47
Similarly, two drawings by Donald Judd from «72 and «76, are working
sketches for sculptures situated in a certain space,
while his early woodcut Untitled, 1963/1978 in black alludes to both
painting and sculpture.
The new exhibition presents
paintings based on drawings and
sketches Dylan made
while on the road from 1989 through 1992.
The first floor of his studio is reserved for final
paintings only,
while the second floor is where he creates all of the preparatory
sketches and variations that inspire his completed works.
The work that was inspired and to an extent created in Vermont, from pencil
sketches executed en plein air, fresh watercolors based on these
sketches and
painted while in Vermont, and many major oil
paintings drawn from these sources and typically completed during the winter months in his New York studio, is celebrated in Milton Avery's Vermont.
As for the narrative scenes that he depicts, they too are ostensibly African: Armitage travels to his homeland to derive inspiration
while making drawings and watercolour
sketches, and his finished
paintings often foreground aspects of East African culture, such as indigenous folklore, issues surrounding mental health, or the taboo subject of homosexuality.
From 1955 - 1966,
while still in Berkeley, Diebenkorn began to
paint and
sketch representationally, during which depictions of portraits and models proliferated.
While there, he utilized the facilities of the Pratt Institute to work on his
sketching and
painting, including an idea for a modern version of William Hogarth's «Rake's Progress,» a printing project which he completed two years later.
Large areas may still be
sketched in with no
paint on the canvas,
while others are waiting for the details to be incorporated.
Currently fusing fluid
sketching and charcoal work styles from his past with spray
paint and distress techniques that he has developed over the years, the viewer will notice major differences in genre between the 2009 and 2010 works:
while the current pieces dive into a more figurative and abstract realm, the 2009 series of
paintings «With Great Power Comes Great Responsibility» focuses more on a comic - themed visualization of the all - too - human defects of character, faulty perception, and skewed sense of humor.
Photographs provide the basis for
sketches and
paintings while photographic reproductions of
paintings and other works are incorporated along with mass - media images and packaging into collages and assemblages in a voracious cycle of visual input, output and reuse.