Sentences with phrase «stained canvas»

What counted in a Morris Louis painting, for example, was the way the colours stained the canvas, confirming its flatness while seeming to levitate above it.

Partially inspired by women hanging laundry on clotheslines he observed from the window of his Washington studio, Gilliam abandoned the frame and stretcher, and began to drape and suspend large areas of paint stained canvas.

This six part work involved several hundred feet of paint stained canvas, and was commissioned for the exterior walls of two adjacent wings of the museum.

For this exhibition, Vasell has affixed found bits of differently colored cloth, felt, foil, paper, and other commonplace materials to stained canvas.

She says: «because she stained the canvas Frankenthaler was characterized as making a passive, feminine gesture, whereas Pollock's work was a virile ejaculation of paint dripping in an energetic way, where of course they both did both.»

Richter's stark, lovely and somewhat eerily tinted photographs are reminiscent of stained canvas in abstract color field paintings, which have a fresh narrative viewpoint; in this instance, flowers that may have been influenced by early darkroom experiments by Man Ray.

A slide show presents abstractions in deep colors and black, in close - ups that emphasize the affinity to stained canvas.

Where Richter, though, evokes at once the anonymity of conceptual art, the lushness of stained canvas, and purity of abstraction, she gives the illusion of a thickly textured surface.

Mary Weatherford lets stained canvas hang loose beneath neon, and Julia Dault frees it from the wall with her own recourse to artificial leather.

In a gallery devoted to abstraction, a monumental, prismatic swath of stained canvas hangs in draped folds attached directly to an entire wall.

Gorky's stained canvas and dream landscapes introduce a debt to Surrealism as well.

Measuring 10 feet high by 75 feet long, the vivid, color - stained canvas hangs suspended from the ceiling.

The exhibition will comprise a focused selection of large - scale paintings by these artists from the late - 50s to the early - 70s, covering the first wave of stained canvas techniques that would come to be referred to as «Color Field.»

Instead of resting on top of the canvas, the paint in this image stained the canvas — a significant feat in an era when avant - garde artists were fascinated with the flatness of painting.

His latest exhibition «Powder of Light currently on at Jonathan Levine Gallery in New York, combines acrylic, ink and spray paint on a background texture of tea - stained canvas.

They also look to back color - field painting, when stained canvas for many critics came fraught with lightness and excess.

Greg Goldberg approaches stained canvas with thin layers of color, while Holton Rower goes for actual pours, sometimes dried on a curved or vibrating surface.

Using a technique that stained canvases with liquid color, it was a counterpoint to the aggressive brushwork of the then dominant style of Abstract Expressionism.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Influenced by abstract expressionism, Gilliam experimented with methods of applying pigment, often pouring paint, staining canvases, and folding them while still wet.

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

An unprimed surface is typically not treated with gesso or any other form of sizing, which in turn allows for the paint to pool and stain the canvas.

While the initial glance may lead one to believe that he stained the canvases, he in fact primed them and poured veils of vivid, jewel - toned paint onto the surfaces.

The convolutions of these chance felt fragments recall a disparate collection of memories — the quick gestures of a Joan Mitchell painting, the color field forms of Morris Louis» stained canvases, the starkness of Robert Morris» wall pieces — each imbued with aleatory process that accepts accident and chance.

With a unique pouring technique, Morris Louis achieved his intensely vivid hues by staining his canvases with Magna, a newly developed form of synthetic acrylic resin which fully penetrated the fabric and completely covered the fibers of his canvas to build glowing fields of voluminous color.

He began to make paintings without stretchers in 1968, suspending and draping colour - stained canvases from walls, ceilings, and sawhorses.

Effectively staining the canvas with paint, the technique subverted the figure - ground relationship associated with painting by blurring the boundary between form and surface altogether.

She stains canvases with deep, earthy colors, pulling figures from the Rorschach puddles and pushing and pulling them into situations and narratives.

This important exhibition will feature more than twenty paintings from various periods of his forty year career: rare «early spray» paintings from the late 1960s, saturated stained canvases from the 1970s, dizzying spray ovals from the 1980s, pulsating orbs from the 1990s, and rhythmic calligraphic swirls from his last decade.

The show presents over 30 paintings spanning 40 years including rare «early spray» paintings from the late 1960s, saturated stained canvases from the 1970s, dizzying spray ovals from the 1980s, pulsating orbs from the 1990s, and rhythmic calligraphic swirls from his last decade.

Rather than painting thickly with opaque paint, Frankenthaler used oil and then later, acrylic paint, thinly like watercolor, pouring it onto raw canvas and letting it soak and stain the canvas, flowing into shapes of flat translucent color.

Today many of her oil paint stained canvases are deteriorating.

Almost instantaneously, there was a realization that Schnabel and Salle's work was coming out of Color Field painting — they used stained canvases, but they placed images on top.

Stern's pure abstract forms call to mind the stained canvases of Morris Louis and Helen Frankenthaler, but her work embodies a unique elegance that differentiates it from that of her color field contemporaries.

In salon - style, floor - to - ceiling hangings you will find every conceivable kind of two - dimensional creativity: Minimalist monochromes; Color Field stained canvases; finely and loosely grained patterning; cartoon allegories and sensitively observed still lifes.

The artist then removes a section of this layer using turpentine to reveal the constituent colours beneath, and the residue of this process stains the canvas with veils of pigment.

Instead of painting the canvas with a brush, Noland's style was to stain the canvas with color.

Her pure abstract paintings call to mind the stained canvases of the Color Field artists, but her work embodies a unique elegance that differentiates it from that of her contemporaries.

Taking this pictorial structure as a starting point, Vasell has fashioned paintings that are made up of disparate elements collaged onto stained canvases.

She was always liable to work with collage as one element of her paintings and in early days might stain canvas with tea as one of her colours.

While abroad, he discovered the effects of staining a canvas as opposed to painting on it — color by flow instead of application.

Kordansky had been a fan of Gilliam's radically innovative, unstretched, stained canvases for years, and had shared his enthusiasm with Rashid Johnson when they first met in 2009.

In 1960 Olitski abruptly moved away from the heavily encrusted abstract surfaces he had evolved and began to stain the canvas with large areas of thin, brightly colored dyes.

He is most widely known for the large color stained canvases he draped and suspended from walls and ceilings during the late 1960s and early 1970s.

During this time Gilliam experimented by taping and pouring colors, folding and staining canvases, and literally folding a still wet canvas against itself to imprint vertical, angular, and axial forms.

The later are surprisingly graphic with delineated, self - contained colored shapes and have a cartoonish quality, really the antithesis of her stained canvases.

The selection of works on display features vibrantly stained canvases that create an illusion of 3D structures floating in space.

As an artist who has been variously described as «the new Turner» and «Europe's answer to Mark Rothko», the show will reaffirm Hoyland's status as an important and innovative force within international abstraction and provide new insights into the way in which Hoyland's work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the 1980s.

At times, Baer's attention to detail takes on a sense of rebellious humor and cartoonlike simplicity, such as in Looking Back (2009) with its smears of paint blotting out hard brick walls, or in Bay View (2009), her series of dripping, squirting breasts, jutting out from actual seams that are hand sewn into blue - stained canvases.

Mokha Laget In Her First Solo Exhibition with David Richard Gallery Presents New Shaped and Colorful Stained Canvases That Create Illusions of Three - Dimensional Structures Floating In Space