Sentences with phrase «stain technique working»

She continued to exploit the stain technique working primarily with large - scale canvases.

Not exact matches

There are several at - home DIY stain - removal techniques to remove food, oil, ink and water stains that work well, but you can also take it to a professional for a deep clean.

Call it Manet for the millennium, after his late flower paintings... If... DeGiulio's art plays it cool... Zuckerman - Hartung's work is a firestorm of techniques and effects: bleaching, dyeing, staining and sewing linen, silk and humble dropcloths.»

The theme of landscape, flatness, the technique of staining, bands, calligraphy and articulate use of color have been streams of consistent interest in this continuing series of my work.

Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy.

Rendered in his signature stain technique, much of Maslansky's work takes source images from Red Light Lacuna (2011 --RRB-, his found archive of compromising selfies and cringe - worthy esoterica, which he shares through social networking websites.

Whether he is working with hard - edged forms, staining canvas or demonstrating his gestural chops, Brischler evinces amazing fluency with a range of techniques.

On the level of technique, Pollock's revolution led then to the color field painters who, years later, adopted staining and pooling methods clearly evident in the work of Morris Louis and Helen Frankenthaler.

Each group in the exhibition achieves this through their own distinct technique: the Abstract Classicists of Los Angeles worked in oil; the Washington Color School stained acrylic into their unprimed canvases; and the New York Op artists built up their acrylic on primed canvases.

As she recalled of this technique, «I did a whole series of pictures... that I reversed; in other words they stained through and then I worked on them again from the other side.»

The city's first major exhibition of Frankenthaler's work in more than five decades, the exhibition explores her return to gestural improvisation after years spent developing her «soak - stain» technique (soaking her raw canvas with turpentine - thinned paint).

This large painting, the first in which Frankenthaler used her soak - stain technique, synthesized the influences that had informed her work to that point and announces her arrival as a mature artist.

Engaging interests such as science fiction writing, psychology, and the occult, Yackulic's work manifests as artist's books, painting, works on paper, and zines, employing techniques including letterpress, staining, and xerography.

After developing his signature technique of staining in 1953, Louis destroyed much of his previous work, which makes Sub-Marine an important document in the career of an artist who went on to become one of the most lyrical artists of the so - called Washington Color School.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

He used the techniques associated with action painting, such as dripping, pouring and splattering, and also used staining and worked with traditional brushes.

Continuing to use his technique, established in the 1950s, of staining unsized raw canvas with acrylic paint, here Noland has expanded upon it by not only painting the front surface of the canvas, but also working from behind.

In April, one of his works, a large floor painting executed using a «soak - stain» technique, marked a career record when it sold at Swann Galleries in New York for $ 197,000 (including fees), about three times the high estimate.

She gained fame with her invention of the color - stain technique — applying thin washes of paint to unprimed canvas — in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the»60s.

To create these works, Gilliam employed the technique of staining raw canvases with acrylic paint also employed by Morris Louis and Helen Frankenthaler to fundamentally new ends.

From a technique point of view, two trends emerge from this group of work: one; an emphasis on ground - using thin watercolor-esque applications of paint (staining) on to thickly combed grounds of gesso, and two; the use of hard, taped edges and the blending of wet paint on wet paint.

If Ms. DeGiulio's art plays it cool, Ms. Zuckerman - Hartung's work is a firestorm of techniques and effects: bleaching, dyeing, staining and sewing linen, silk and humble dropcloths.

These works adopt the spray painting technique, staining both mounted and unmounted canvas in red, the colour of shale.

Impressed by the action - painting technique perfected by Jackson Pollock (1912 - 56), she employed similar methods in her painting Mountains and Sea (1952, National Gallery, Washington), which is considered a seminal work of Colour Stain Painting.

Evident in this work is Frankenthaler's signature technique of thinning her paint so that it elegantly stains the surface, allowing the viewer to glimpse the woven texture of the canvas.

Packard combines printmaking techniques of drypoint etching, embossing, and relief with painting staining, and dyeing to create works of ephemera and contemplation.

As he began to move towards abstraction, his works began to evoke the visual effects of the Colour Field artists, in particular the staining techniques of Morris Louis and Helen Frankenthaler.

Many Washington artists went to see her work, in which she used a new technique: staining.

It was in this one work that Frankenthaler pioneered her famous soak - stain technique.

More importantly, she developed a body of work — as the three paintings in her exhibition at THEODORE: Art make readily apparent — that stood in thoughtful and thorough opposition to the aesthetic attitudes — by - then widely upheld, institutionally sanctioned, particularly as they concerned abstraction — that emphasized particular techniques (staining), the historical necessity of flatness, and a literal (or anti-associational) mindset — all of which could be summed by Frank Stella's terse dictum, «What you see is what you see.»

TIP: I've used this technique a lot, so I was able to work with all the little slats, but I wouldn't attempt a project with slats for your first time using stain as a glaze.

I just stumbled across your blog on pinterest and I actually do similar work with stain, through a different technique.