Sentences with phrase «small early painting»

I was particularly interested in one small early painting of narrow vertical black and white lines of uneven length.

The show takes the considerable risk of starting not with a punchy, scene - setting overture, but a roomful of intriguing, mostly small early paintings by key figures.

The collection continues to grow, and, together with select additions, now holds over 100 Hartley drawings, two small early paintings, memorabilia such as souvenirs from his travels, ephemera including letters and exhibition programs, personal effects, and many photographs.

Not exact matches

Earlier in the summer, we came to the realization that our house was in major need of deep cleaning, some painting, and a bunch of small fixes here and there.

When I was small, early learning finger painting was something that I could only do in old clothes, with newspapers over the table and floor.

Finance has consistently been one of the biggest talking points from early on with Latimer painting Killian as the big money candidate and championing his larger number of small donations.

The work could explain why the planet has a relatively small heart, and paints a grisly picture of the early solar system, where massive, rocky «super-Earths» were snuffed out before they could grow into gas giants.

Many of the paintings seen earlier crop up again in new contexts, which is part and parcel of the section's theme: that what we think we see depends in no small measure on our frame of reference.

Abingdon's One And A Half — Jonathan Wood recalls the VA the smallest of the three saloons made by MG towards the end of the»30s / Pau: A Popular Revival — The inaugural Grand Prix Historique contained all the ingredients for lasting success reports Douglas Blain / Bellows To Buses — Norman Painting relates how a West Midlands general engineer became a diversified vehicle producer but lost the plot after the First World War / Maudslay's Might - Have - Beens — Concluding Nick Baldwin's account of the early years of the Maudslay Motor Co. / Japanese Microcars — Michael Worthington - Williams recalls some amazing light cars and microcars produced up to the 1950s when Japan was far from the successful motor manufacturing nation it is today / Phantom a La Packard — This month the Editor tries out a Phantom II whose dual cowl bodywork was modelled on a Packard phaeton.

Brett Baker (BB): Your new small paintings look interesting - more abstracted [than earlier works] but still closely observed.

Unlike her early paintings, this small group of works shows West's increasing experiments with more varied compositional patterns and the drama of forceful brushstrokes, usually black against white unprimed canvas.

Mine reaches back to the early Renaissance panels of Sassetta and other Sienese masters, the small but powerful paintings of Mughal India and forward to 20th - century outsiders like Martín Ramírez and Forrest Bess.

Terre verte also figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the painting.

Martin's awkward early mountain scenes and Nude (1947), a small canvas that depicts a topless, tawny woman sporting hoop earrings, display a certain interesting energy, but these images are illustrations, not paintings.

SL: Some of those paintings seem to involve objects that were in the painting almost the same size they were in actuality, some of those early small ones.

Fifty - four paintings including three of The Garden Path at Giverny, four of The Japanese Bridge over the Lily Pond, fourteen London Views of Parliament, Charing Cross and Waterloo Bridges, twenty - four examples of an early series of small Water Lilies and nine Views of Venice comprise the first four rooms of the show.

Also on view are several early non-ballpoint works; an early lithograph Untitled (1979); a drypoint etching Untitled (1980); two small crayon and oil on paper works Untitled B (1980) and Untitled R (1980); an acrylic and oil on board Untitled 84 - 6 (1984); and Untitled 82 - A (1982), a stunning example of an early painting drawn with a sharp nail and a precursor to his recent acrylic and oil paintings.

But the lackluster notes are tempered by cool weirdness: A Mai - Thu Perret rattan sculpture of a donkey; a suite of early - 20th - century drawings by Marguerite Burnat - Provins in which cats or swans play with disembodied human heads; and funky, small sculptures by David Hominal which place discrete objects — one of which looks a whole lot like a used crack pipe — atop painted metal cans.

Now in his late 70s, the British painter appears to have done away with the agonised journeys in paint his earlier small canvasses recorded.

The personal meant realistic, easel painting, and smaller early works have the dark colors and heavy outlines of painters like Ben Shahn.

This large rhythmically painted urban landscape represents a small town on the Seine, west of Paris — a site associated with Claude Monet and Pierre - Auguste Renoir in the early years of the Impressionist movement.

His early abstract - ish paintings, small and wan, were nothing if not winning... but does the old formula (near - monochromatic color, sketchy brushwork, mysterious fading imagery) still work when the scale is monumental?

Pibal's paintings, unique in their small scale and lovely color, nevertheless allow me to make some visual connections within geometric abstraction: to Miriam Schapiro's famous Ox painting, currently part of the «Wack» show (opening February 17 at PS 1) to Frank Stella's early geometries, and to Warren Isensee's Body and Soul, which I posted recently.

Among these works are early small - scale, monochrome India ink paintings; numerous paintings from the 1990s when the artist introduced color to his work; and a group of rare, large - scale paintings.

«More Wrong Things», a solo exhibition at Hales Gallery in London (20 May — 24 June) displaying a small group of works from the 1980s to the early 2000s, coincided with the opening of «Kinetic Painting» at the Museum für Moderne Kunst in Frankfurt (until 24 September), a vast survey of Schneemann's career.

Of all the rare, early - period Kline landscapes, cityscapes, interior studies and sketches in this condensed retrospective, that one small painting made me wonder whether it is possible to see locomotion as such.

Tisa produced the wall of small paintings; one each day during the 1980s and early «90's as a way of coping psychologically with the AIDS crisis.

Innerst broke onto the New York art scene in the early 1980s with exquisitely executed small - scale paintings with hand - made frames, and his works were considered part of the Pictures Generation of artists who employed widely varied images as source material culled from the expanding media of the pre-digital age.

Milne's paintings look back to an earlier, smaller scale of operation.

While the work clearly recalls Stella's iconic series of black and aluminum paintings, with their repeating monochrome bands, this piece is in fact a small collage of metal foil applied to Masonite, and it has a wonderfully handmade quality that's perfectly in line with his early Minimalism.

It involves media ranging from small early sculptures and drawings to installations, murals, photography, and paintings.

New Midwestern locations brought back his earlier saturated color sense and the motif of farms appeared with the small barn - reliefed surface of «Farm» (1983) and the mural - size «Farm» (1966) with its painting - within - paintings and farms and silos, from the museum's collection.

The earliest work here is a small almost naïve painting from 1940.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

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.

In the late 1950s and early 1960s he made paintings and began as soon as 1961 to incorporate glass into small objects.

The smaller - scale work at Half Gallery has the signature aspects of those earlier paintings, but raises questions about her larger intent.

In Bischoff's earliest non-representational paintings the abstract shapes are large, still deriving from figures against a background; gradually, the shapes have become smaller and more fragmented.

However, in the late 1960s and early 1970s Lostutter produced a number of small watercolors and drawings of female subjects where he began to explore many of the elements seen in his later paintings.

The early paintings in this group, from 2011, show a direct connection to the still life paintings in that they are larger versions of the small pieces used to create the oil collages.

A smaller Untitled (2015) measures in at only 97 x 89 cm, yet it is a painting that seems to suggest liminal states of being that recall early Barnett Newman or Mark Rothko.

The space is divided into two conjoined galleries, one of which hosts the third solo exhibition of Ryan Travis Christian — whose drawings and paintings are clearly influenced by early Disney animation, George Condo, and the Chicago Imagists — while the smaller gallery hosts text - heavy prints by Steve Reinke.

To those who know his work today, it may come as a surprise to learn that his early work, resulting from the more introverted approach, consisted mainly of very small paintings done in egg tempera and entirely with brushes, somewhat in the manner of Vermeer, whom he still greatly admires.

Judd participated in several small exhibitions of his paintings in the early to mid-1950s, most notably at Panoras Gallery where he had his first solo exhibition in the summer of 1957.

One of the best - known accounts of an early Rauschenberg painting undergoing episodes of change involves Untitled [small black painting](1953, fig. 3), a work that belonged to John Cage (1912 — 1992) for more than thirty years and shares a number of similarities with the painting under discussion here.

Relocating to Louisiana as a young child, he spent his early teenage years painting and photographing boxcars in a small town.

They range from pre-Gutai works, painted by Shiraga during the Zero - Kai period, to the action painting that characterized the early years of the movement, including both small and large pieces by Jiro Yoshihara (Gutai's founder), Shozo Shimamoto, Chiyu Uemae, and Takesada Matsutani.

The small, quiet, and excellent figurative paintings by Lilly Ludlow, all untitled and from 2014, are a surprising nod to figuration in early modernism.

The show opens with a small selection of early paintings and works on paper by each of the artists, and then flows into a large gallery teeming with art created during the Gutai period.

Smaller rooms in back hold other early sculpture along with modernist painting.