Sentences with phrase «stain paint»

The dark wax will actually stain the paint color.

They can permanently stain the paint.

As for the dark wax - it has a stain in it and can permanently stain your paint color if the barrier of clear wax is not there.

You can use the blue tinted jars if you want some color, but don't want to use a glass stain paint.

If you haven't used dark wax before be sure to test it on your paint color because it basically stains the paint.

In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Frankenthaler's stain paintings after visiting her studio in New York City.

The late Helen Frankenthaler famously «departed» from Jackson Pollock with her early stain paintings in the 1950s, but she kept on making departures for the rest of her long, innovative career.

In one large gallery stain painting is rebelliously pushed off the stretched canvas in vibrantly colored and variously two - sided, sewn, beaded and torn works by Manny Farber, Alan Shields and Alvin Loving.

When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself acted as forcefully and as positively as paint or line or color.

Forty - five years of abstract color painting, defined rather reductively by Phillips as stain painting, is inadequately represented by four lonely works, that span a mere six - year period: Helen Frankenthaler's Mountains and Sea, (1952), Sam Francis's, Black in Red, (1953), Morris Louis's Iris, (1954) and Kenneth Noland's Song, (1958).

Peter Young was my friend and downstairs neighbor at 94 Bowery and he told me about Pettet's work that he could see had a distinct relationship to the stain paintings that I was doing at the time.

Water - soluble Liquitex and Aquatec proved to be ideally suited for stain painting.

During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color.

In 1969 I began a continuing series of stain paintings combining stained surfaces, with hard edged colored bands, painted in different sizes across the bottom (some of which had abstract writing in them) and later, colored bands of different lengths and widths on the edges.

Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is James Brooks.

Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952.

«Through his ties with leading modernists on both side of the Atlantic, Hoyland is a pivotal figure in 20th - century abstraction and the stain paintings from this period, many of which have never been publicly exhibited outside of London, are ripe for rediscovery and new understanding.»

Entering the first rooms of the exhibition that feature Abstract Expressionism, and Stain Painting, the educated viewer's credulity takes a nose - dive.

By the 1970s Poons created thick - skinned, cracked and heavy paintings referred to as Elephant Skin paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's stained band paintings are reflections of both Chinese landscape painting and the Color Field idiom, and John Seery's stained painting as exemplified by East, 1973, from the National Gallery of Australia.

In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection.

And what people had trouble with in the soak - stain paintings of the 1950s was not only color, but color along with softness.

In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler's stain paintings after visiting her studio in New York City.

Another kind of body, if you will — the corpse of stain painting?

While the rivulets of watery paint and the luminous glow of the surface suggest that he is using techniques associated with stain painting, his reworking of the surface, with multiple layers of paint and varying textures, goes against what we think of as stain painting.

This, the first New York exhibition of John Hoyland's work in 25 years, brings together seven of his monumental stain paintings along with works on paper.

In 2013 Mary Weatherford said, «If anyone decides to make stain paintings, even now they have to consider Frankenthaler.»

He poured and stained paint into larger canvases.

This covered a number of movements, from stain painting (just what it says) to systemic painting (most famously Josef Albers, who reduced his work to a series of coloured squares, one inside another), minimal painting (such as that of Agnes Martin, obituary, January 10) and hard edge abstraction.

This was the lighter - than - air abstract style, with its emphasis on stain painting and visual gorgeousness introduced by Helen Frankenthaler followed by Morris Louis, Kenneth Noland and Jules Olitski.

Early in her career she developed the stain painting technique, which became a catalyst for a generation of color field painters.

Ms. Wilkin has rightly included Sam Gilliam, who eventually pushed stain painting into installation art, and the stripemeister Gene Davis.

Some artists in this period, notably Helen Frankenthaler and Morris Louis, practiced what was known as stain painting.

While many have focused on Hoyland's American connection, as if his paintings had all sprung from that fountain, he achieves something all his own in his «stain paintings,» and it is remarkable how strong they look more than 50 years after they were made.

John Hoyland: Stain Paintings 1964 — 1966 Sep 15, 2017 — Oct 21, 2017 Pace Gallery 32 E 57th St, New York, NY 10022 Pace Gallery is pleased to present the gallery's first solo exhibition of works by leading British abstract painter John Hoyland (1934 — 2011).

Ah, seeing these paintings at the Paul Kasmin Gallery (through January 19) made me feel like I was back in art school when everyone was stain painting and Morris Louis's arc was ascending.

Berry Campbell's current exhibition highlighting the stain paintings from the last decade of Dan Christensen's career br...

John Hoyland: Stain Paintings 1964 — 1966 continues at Pace (32 East 57th Street, Midtown, Manhattan) through October 21.

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

By the time he worked on the paintings in this exhibition, John Hoyland: Stain Paintings 1964 — 1966 at Pace (September 25 — October 21, 2017), his work had undergone a number of significant and radical changes.

Breathing luminous color and varying in media from stain paintings to digitally controlled light emitting diodes, this select gathering of abstract images showcases Lyrical Abstraction as -LSB-...]

I admire it because it contains multiple painting styles; (combining geometric boxes (chops), borders and calligraphy;) with landscape techniques that are remarkably similar to modern stain painting.

With works from his early Stain Paintings of the 1960s to his Late Paintings, this is the first exhibition of the artist's paintings since his death in 2007.

Because the linens haven't been under - painted, they suggest the stain paintings of Helen Frankenthaler.

The fame of her early stain paintings and her identification with transparent, fragile hues notwithstanding, the majority of Frankenthaler's most achieved later works - that is, those made from the 1970's on - derive at least part of their expressiveness from the way their luminous (or dark and smoldering) color shifts from brushy, transparent washes to declarative, superimposed strokes.

The Women of Abstract Expressionism exhibition features Frankenthaler's breakthrough stain painting Mountain Storm, Jacob's Ladder on loan from The Museum of Modern Art and Western Dream, one of my favorites.

Davenport's vivid pigments and unconventional methods recall the stain paintings of Morris Louis, who also allowed gravity to play a role in the outcome of his works.

Understood as an umbrella under which hard - edge painting, color stain painting, lyrical abstraction, and minimal painting stood, post-painterly abstraction introduced a more logical and systematic approach to creativity.

Jackson Pollock, for example, inspired her to develop her own technique of «stain painting,» pouring thinned paint onto unstretched, unsized cotton canvas to develop her artistic visions.

Installation view of John Hoyland: Stain Paintings 1964 — 1966, 32 East 57th Street, New York, September 15 — October 21, 2017.

Quickly, you'll fall into a steady rhythm: Allison Wall juxtaposes a stain painting, with a video of how it's made (with her body).