Sentences with phrase «such large canvases»

Since he didn't make studies, the usual practice for such large canvases, Renoir needed to be familiar with the physiognomies of his revelers, and he had to be able to coax many of them to trek out to Chatou to pose for him.

When he says «dream assignment» I think he means that the film's story and setting provided such a large canvas to write to, which could have resulted in some great music (despite the qualities of the resulting movie).

The installation of the 4 - foot - high Abstract, White & Black, 1960, near the entrance makes that clear, and the general similarity the small pieces share with such larger canvases is indisputable.

Not exact matches

small tin buckets easy to find at paint supply stores small cardboard paint buckets also at paint supply stores; paint or cover with paper chinese food boxes most craft stores have these in a variety of colors plain paper sack with a drawing or stickers on the front and tied with a ribbon or a cardstock header stapling the bag closed plastic beach buckets check the dollar store for the best price terra cotta flower pots perfect for a garden theme; the kids can paint these for a party craft too fabric or felt bags with or without a drawstring large tin cans of course, make sure the edges are not sharp mini canvas totes bought or homemade cardboard boxes such as a cereal box, cut down and covered with paper or painted; add a ribbon, string or wire handle baskets lots of inexpensive ones available at thrift stores popcorn boxes available at party supply stores Helpful Tips:

From Gareth Edwards delivering «Godzilla,» to The Russo Brothers making very respectable work of «Captain America: the Winter Soldier,» to James Gunn knocking «Guardians of the Galaxy» out of the park, to Ava DuVernay moving to a much larger canvas with «Selma,» and Darren Aronofsky tackling the massive «Noah,» it's been such a phenomenon this year that we dedicated two whole features to it in the first half of the year (When Indie Directors Get Big Budgets and Next - Generation Blockbuster Directors).

At the time, this is also the largest canvas I'd ever painted on and thought it was SUCH a large area to cover.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases.

In recent years he has adapted the process to canvas and large - scale wall works, such as Blue Field Explosions (2009), a monumental drawing in the stadium that is home to the Dallas Cowboys.

Another bronze sculpture, placed in front of one of the two large windows allows us to imagine the painterly contraption required to execute such physical actions on the monumental canvases.

In them all, abstracted rhythms and undulating strokes describe a fluid network of lambent color, such as we see in Untitled III, all spread over large - scale canvases generally measuring 80 x 70 or 80 x 77.

In Essenhigh's most recent large - scale canvases, action figures are cast alongside the demimonde in roles where time - honoured human concerns such as patriotism, religion, competitiveness and heroism are played out in...

Oscar Murillo's large - scale paintings imply action, performance, and chaos, but are in fact methodically composed of rough - hewn, stitched canvases that often incorporate fragments of text as well as studio debris such as dirt and dust.

Approaching photo - realism are works from such artists as St. Louis» Michael Neary, who injects bizarre elements like a skeleton in a basket and a Shiva behind lemons in his «Vanitas: Talk to the Hand» (2010), or the permutations through smaller studies to the large dominant canvas «Backyard Summer» (2010) by Jeremy Long from Ithaca, New York with its edges of magic realism reminiscent of Peter Blume.

Points to ponder: both paintings are large in scale (yet organized around a center), make full use of the available canvas and were executed in such a way that texture and perceived depth play prominent roles.

Throughout his life, his subjects became more extreme, such as his direct references to the Vietnam war, which, once depicted on large canvases — in the Mercenaries series, for instance — become symbols of the paramilitary conditions of contemporary life.

Artists such as Jackson Pollock, Mark Rothko and Barnett Newman used large canvases in order to change the terms on which we look at pictures.

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases - Anna's Light (1968), named in memory of his mother who had died in 1965, is his largest work, 28 feet wide by 9 feet tall (8.5 by 2.7 meters).

Phillips also achieved a landmark price for the American artist Mark Bradford, when his very large mixed - media canvas Biting the Book (2013), bought from a show at London's White Cube that closed only a year ago, attracted multiple telephone bids before selling to a client speaking to Philips's New York — based president Michael McGinnis, for a record # 2.5 million ($ 3.9 million), double the estimate and four times the gallery retail price for such a work.

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

In «Double Bill», a 2012 series of large inkjet prints, [19] Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand Léger with Max Ernst) on a single canvas, further altering the appropriated picture plane by overlaying his own hand - painted color additions.

As I wrote in the AJC, the exhibition documents a building anger that would erupt in 1967 both on the streets and in large - scale canvases such as «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableau.

The large canvases come with grandiose titles such as Wall of Light Sky, which leads one to report that the exhibition is generally overcast with brighter spells developing later.

«It's all self - initiated, no brief as such, no set subject; just the requirement to fill a large canvas against the clock.

The exhibition will also underscore Thomas's engagement with flowers and nature distilled in large - scale canvases, such as Breeze Rustling Through Fall Flowers (1968).

Murillo is widely recognized for his large - scale paintings that imply action, performance, and chaos, but are in fact methodically composed of rough - hewn, stitched canvases, which often incorporate fragments of text as well as studio debris such as dirt and dust.

As many critics tried to come to terms with the large allover canvases of Abstract Expressionist painters, some found themselves just as preoccupied with the movements and processes by which painters made such works.

The early works prepare the way for such important paintings as Hemlock (1956), Ladybug (1957), and George Went Swimming at Barnes Hole, But It Got Too Cold (1957), large - scale works that signal Mitchell's energetic yet controlled mastery of oil paint on canvas.

Bui commented that both curatorial ideas were inspired by Jackson Pollock's admiration for Albert Pinkham Ryder, whose modest - sized paintings, such as Moonlight Marine (1870 - 90) which measured 11 1/2 x 12 inches, evoke monumental scale and immensity of space, while Pollock's large - sized canvases attain a sense of intimacy.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

In larger canvases, such as girl with stick (2013), he appears standing protectively with his daughter while she peers inquisitively at the viewer.

The Rose's exhibition included large - scale canvases like Love and Violence (1965)-- in which a man grabs a woman by the throat, while frames from a horror film unfold below against a blood - red background — as well as photo and video documentation from the 1960s through the 1980s of Drexler's theater pieces, which premiered at such avant - garde New York venues as the Judson Poets» Theater and Theater for the New City.

Works in the exhibition range from large - scale canvases such as Cristoforo Colombo (1965), Camels and Goats (1980), and Rat Tat Tat (2001), to smaller sketches such as Hollywood Film Stars and Homes Foldout (1973) and back to the two new and previously unseen painted installations — Biggles and The Spitfire (both 2012).

Rudolf Scharpff was thus able to acquire the first work on large - format canvases by graffiti art pioneers such as Phase 2, Mico, Futura 2000, and Rammellzee.

In 4th Time Around / (My Back Pages), the energy of such avid experimentation is on view in an array of paintings, from the gently poetic «3 Sonnen» to the large - scale canvas «Ausfegen.»

The exhibition's single large - scale painting on canvas was inspired by historical paintings such as Pieter Bruegel the Elder's «Tower of Babel,» as well as the artist's own personal experiences in residency in Boulder, Colorado.

In «The Vocabulary of the Visible World — Painting,» held at Duisburg's Museum Küppersmühle for Modern Art, Fujian - born Wang Guangle's structured Coffin Paint canvases (2004 ---RRB- and Zeng Fanzhi's large - scale canvases, Hare and Head of an Old Man (both 2012), are displayed adjacent to key works by big - name artists such as Zhang Huan, Zhang Enli and Zhang Xiaogang.

His practice draws on the legacy of non-symbolic abstraction in making the series of works he terms «Black Dada,» which in the MOCA show included large paintings of silkscreen ink on canvas, such as «Black Dada / Column (A / A)» (2015).

In many works painted this year, such as Untitled (Two Chairs), Capillary Action, and Untitled (Blue Sky), Rosenquist attaches small rectangular or circular canvases to the surface of the larger paintings.

Broken English will include a series of small works on paper and large canvases, some with integrated found materials such as neon advertising signage.

It's the brightly colored and intensely detailed canvas by American artist Terry Winters that draws you into the fairly underwhelming but highly curated booth, which includes highlights such as a Vija Celmins painting Untitled (Large Night Sky) from 2015 and a monotype by Jasper Johns.

Studying the work of American abstract expressionists such as Helen Frankenthaler, an artist who poured thinned paint directly on larger than life - sized canvases on the floor in her Color Field works, Olivier similarly engaged in a process of coaxing acrylic paint to spread and drip in brilliantly hued pools, more characteristic in watercolor.

The late filmmaker Derek Jarman became an underground hero for such visually ravishing movies as his 1986 Caravaggio, and throughout his life he was also a committed painter himself, scratching out large, raw, confessional canvases that brimmed with emotion.

This serendipitous connection inspired Heilmann to enlarge a detail of one such painting and print it on two large panels that playfully turn the building itself into her canvas and tweak its sharp geometries.

While his canvases might not be as large as the ones used by Pollock, there were some similarities such as the dripping appeal of the paint that was all over the canvas.

She began painting large canvases using techniques inspired by artists such as Josef Albers and Bridget Riley and made use of various stratagems of Op Art.

This concern was common to some earlier and larger canvases such as «Quadrama IV» (T01688).

During the 1970s, Parker introduced lines into his canvases, intermixing linear elements with irregular shapes to create simple, dramatic, highly colored compositions, such as his large painting, Untitled (1979) in The Phillips Collection.

Certain aspects of the brushstroke and the slight drip appear again in Reed's more recent paintings, such as # 628 which has a small rectangle inset in the larger horizontal rectangle of the canvas.

As such they seem to express something other than an effort to produce studies for larger pieces, especially since only one among those exhibited, Untitled, c. 1957, resembles a larger, finished canvas.

In the 1950s Ellsworth Kelly produced his own, ultra-flat black paintings in a series of large canvases, including Black (1951), and later in the decade Robert Motherwell produced almost all - black canvases of his giant brush strokes (such as Iberia no. 18, from 1958).