Sentences with phrase «small painted fields»

Not exact matches

In the winter months, this small island nation is transformed into a magical world of black lava fields blanketed in snow, waterfalls flowing amid shimmering ice, and night skies painted with the northern lights and their great cascades of color.

Small size tubes of traditional oil paints and watermixable oil paints are especially handy for painting in the field.

He also painted a related series with secondary colored dots on white fields, and a smaller group with gray dots on white fields.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

These are inscribed as a series of regular loops resembling a Slinky on opaque fields of color, often in smaller paintings.

These are two new small paintings from «Silk Road,» an ongoing series of small grid - based color fields.

Smaller, juicier paintings such as «Goldenrods» and «Field of Wildflowers» see Katz using motifs from nature to experiment with the «all - over» approach to composition, whereby no one part of the composition is allowed to prevail over the others.

I've limned each painting to charge the intensity of its color field and — I hope — to spark the eye so that it travels from painting to painting on a small visual journey of its own.

Conversely, I once saw a very small painting by Jake Berthot, a pocket - book - size picture that was a complex layering of different greys with some wonderful reds breaking through the field and also at the edges of the canvas — it seemed like I was looking at something almost infinite in its dimensions.

And these big red paintings, marked in red (with one small white exception) with a kind of insignia or logo pushed at times to the edge of the field or centering it grandly, all on sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by fashion) and the lush severity and awe of Great Painting.

While my work tends toward the reductive anyway — I refer to my esthetic as «lush minimalism» — each painting in this series is a small color field achieved by layers of translucent paint applied at right angles.

In his later years, this interest was more important for the artist, who began to paint in smaller strokes, building the decorative surface of the canvas with broad fields of color.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

Multi-panel paintings in oil and smaller paintings on canvas and aluminum formats explore the tundra fragmented into puddles and bits of ice with small cascades flowing over the rocks, reminders of accelerated seasonal changes melting ice fields and sea ice.

Willem de Looper's colour field painting The Duke (1990) has also been acquired, along with two important drawings by modern artist Emil Nolde (Hamburg Harbor with a Tugboat and A Small Steamboat), key photographs by Sally Mann, Andrew J. Russell, and Gordon Parks, and more.

The booth projected a clear vision, from the ombré color field paintings by Matti Braun and the small James Turrell light installation.

In his new work, the painterliness is more expressive and composition pared down: a small sad donkey wails into the large abstract atmosphere, or in another painting, a goofy horse with a heroic cape pounces into a large field of vibrant pink brushwork.

As striking in their way as any of Church's major paintings are his small oil studies and sketches, many executed wholly or partly in the field and several in the studio as designs for the major works.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

For instance, at the Foundation I've found two small works made a half century apart that both feature several primitive marks — no corners or twists — which somehow freeze the surrounding field in an uncanny way, as if the painting were holding its breath.

Fontana will be represented by a focused survey of his nearly five - decade career, spanning his earliest Spatial Concepts, in which small canvases evoke immense galaxies through swirling fields of paint subtly embedded with small stones and broken glass, to his famous Attessi, or cuts, in which the artist has used a sharp knife to literally slice through the canvas surface into another space.

These paintings, created in multiple small - scale series, allow for repeated methodical experimentation with specific color fields and patterns, shifting away from the monumental scale of midcentury abstraction.

As well as its impressive size and vibrant fields of colour, the hall's painted ceiling includes 34 verses by the early 20th - century author Karl Kraus, handwritten by Mikl on such a small scale that they are invisible to the spectator below.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

With the exception of a small, sketchy canvas painted in 1946, the year before Newman's breakthrough to color - field abstraction, the Menil's Newmans are all vertical and use mostly somber colors.

During the 1960s, this highly formalist trend of Colour Field painting (which Greenberg nicknamed Post-Painterly Abstraction) fragmented into smaller groups such as Washington Colour School, Hard - edge painting, Lyrical Abstraction, and Minimal Ppainting (which Greenberg nicknamed Post-Painterly Abstraction) fragmented into smaller groups such as Washington Colour School, Hard - edge painting, Lyrical Abstraction, and Minimal Ppainting, Lyrical Abstraction, and Minimal PaintingPainting.

Important paintings in the exhibition include: «Acrobats,» depicting a large field of active figures seemingly defying gravity; «Noah's Ark,» a whimsical, multi-piece painting resplendent with creatures great and small, each inhabiting a little painted cage all its own; and the piercing «Diamond in a Rectangle,» prominent in a palette of gold, silver, black, and white.

Titanium White and its shades were painted into series of small fields and quilted together to form round targets or rectangles occupying an entire canvas.

Small Treasures: Rembrandt, Vermeer, Hals, and Their Contemporaries is the first exhibition to explore this little - known field of small - format 17th - century paintings from the Dutch and Flemish GoldenSmall Treasures: Rembrandt, Vermeer, Hals, and Their Contemporaries is the first exhibition to explore this little - known field of small - format 17th - century paintings from the Dutch and Flemish Goldensmall - format 17th - century paintings from the Dutch and Flemish Golden Age.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

They are reined in by architectonic structures, broad fields of color are interrupted by smaller gestures and idiosyncratic forms... his work has a palimpsest effect, where layers of previous activity bleed through the final layers of paint.»

His paintings are made of a series of small gestural markings; horizontal fields of monochromatic color.

Typically fields of color marked with faint charcoal lines suggesting a door or a window, the Open paintings were originally inspired by the sight of a small canvas leaning against a larger one.

His paintings examine the large and small scenes in our daily lives that may go unnoticed: a cemetery we pass on our way to work, an abandoned truck in a field, or details found in nature, such as pine needles and puddles.

I am tempted to liken it to colour field painting on a small scale, if that were possible.

This continues to be true of her more recent, smaller paintings, though the figures have vanished, leaving only symbolic - looking objects set in shimmering fields of rich color.