Sentences with phrase «thicker painted surfaces»

Not exact matches

The subject is enhanced by Rouault's technique of laying thick patches of paint on his canvases, so that undercolors glow through to the surface.

«Yes, the surface consists of nanotubes, but basically nanotubes are just a thicker form of the native oxide, which is the same as the white pigment that you find everywhere: in food, toothpaste, cosmetics, multivitamin and multimineral supplements, paints — all kinds of products,» she said.

Hi Lori — When you say bumpy, was the mixture itself thick and lumpy or after you painted the surface, did the surface feel gritty?

The hazards we have encountered at the street circuits visited so far by the championship range from thick painted road markings and tram rails to different types of surface, including concrete, but our tyres have consistently delivered a blend of safety, performance and longevity.

Produced from durable Multi-layer reinforced FRP with double thick, satin black gel coat to provide a stable surface for paint or other suitable finish.

Preventing the weave protruding the paint finish, Aston Martin employs a patented «surface veil» technology applying a 200 micron thick layer of epoxy glue to the carbon fibre, before the application of seven layers of paint producing a class A level of finish.

Splatoon's signature paint effect also gets an upgrade - it's thicker and «goopier» thanks to more defined edges and a more pronounced surface sparkle.

In his later paintings, in which surfaces tend to be impasto and there are no cartoon balloons, Trosch often depicts a woman (patron) and a macho male artist, who has a thick head of hair and is often bare - chested.

Malevich said that a painted surface is a real living form, here in sheer vitality Leonhardt activates her paintings with numerous layers of thick oil paint.

This frame creates a nice distraction from the painterly marks of the thick paint as well as a contrast of surface texture between matte and luminous paint.

While early practitioners such as Robert Mangold embraced a minimal sensibility, the next generation of artists such as Elizabeth Murray and Ralph Humphrey further evolved the practice; Murray's canvases are explosive and energetic, and Humphrey's paintings are tactile, with thick and textured surfaces.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

My current work has a multi-colored woven - like surface, and as I lay each thin line of it down it goes from a thicker to a thinner stream of paint and ultimately to a vanishing point.

The paintings by David Ainley are colour monochromes built up in layers of thick paint, forming a substantial surface into which Ainley scores lines, revealing parts of the underpainting, in a process that is similar to excavation or mining.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

Because the pigment is mixed with wax, the surfaces of my paintings get really thick and start to almost feel like carvings.

Another interesting comparison to be drawn is between the Dan Christensen painting of 1968 Serpens, and the 1969 painting of mine Eternal Circle, both paintings exhibit an expansive and high spirited use of drawing in color across huge fields sprayed into the surface by Christensen and poured thick on top of the surface in my case.

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

Before Arshile Gorky used paints thinned with turpentine for Abstract Expressionism's most fluid creations, he boasted of his thick surfaces.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

The 82 - year - old painter, who has lived most of his life in northern France near the Belgian border, has pursued his distinctive if somewhat conservative painting style for at least three decades, working for months and sometimes years on canvases whose paint surfaces are so obsessively thick that their images — mostly nudes, heads and still lifes — are virtually obliterated.

Auerbach, whose work has a surface of thick impasto paint that almost vibrates with raw emotion, has an ability to articulate sentiments through the painted canvas.

A stretched canvas forms the work's primary structure; loosely applied paint, punctuated by an isolated cluster of thick, frenetic paint strokes, consolidates multiple layers of paper and fabric fragments, concealing much of the surface.

Built up from a thick, granular impasto, many of these paintings are a chocolaty, fecal mess of inchoate mounds, formed from objects buried just below the surface.

As my work changed and grew during the eighties my paint surfaces got thicker and crustier.

Resisting the turn to traditional conventions of painting and sculpture that characterized the 1980s, he began his series of Plate Paintings, representational works with sculptural surfaces produced by layering shards of found pottery with thick applications of pigment.

Although done within a shorter period, Bluhm's work undergoes the biggest change, from layered fields of interwoven gestures and shapes, with drips running down the surface, to angular gestures in thicker paint.

The thick impasto surfaces of her abstract paintings and sculptures suggest accumulations of material, experience, and loss.

Both tactile and sculptural, these thick impasto paintings are made entirely with palette knives that sculpt, incise and move large quantities of oil paint around on the paintings» surface.

An individual piece consists of a single thick layer of oil paint that Yossifor manipulates with a palette knife; the work is produced over a three - day period, while the surface is still wet.

The canvases, thick with acrylic paint, have a surface tension of their own.

Zhang Huan employs a thick impasto technique and all - over style that engulfs the surface of each Poppy Field painting.

As de Kooning had mixed his oil paints into a thick, viscous yet airy consistency and applied them in heavy impasto - laden strokes, Wool veers toward the opposite end of the spectrum, creating a barely - there scrim of a surface that's been leached of all color, save for the effects of black and white.

These paintings with thick paint and heavy surface texture, he has that too, but he really was devoted to the collage technique.

Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

Her layered and intuitive painting approach with its thick surfaces and myriad forms embraces ambiguity to create an experience rich with poetics.

He finishes with the solid forms of thick paint and color that both punctuate and activate the surface of the final image.

Gilad Efrat, who lays layers of thick oil paint only to engrave within it or the subtract from it, functions much like that ancient writer, who imprints marks by stakes onto a soft mortar plaque, hurrying to affix meaning onto the surface of the material before it will harden.

In his recent paintings, however, in which he lays down thick layers of black paint and then scratches through the tarlike surfaces until the white under - painting reveales itself in slightly wavering lines, Maffei has entered a territory all his own.

Something about aluminum as a painting surface is suited to the kind of abstract painting Solomon does: energetic, hastily applied brushwork that is thick in some places and as thin as a wash in others.

In the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the wall.

The pictorial lines are etched against raised surfaces created with thick paint.

But perhaps most startling were Fleming's paintings opposite those new geometric abstractions: broad canvases with thick, oily smears of acrylic forcefully applied to their surfaces.

In the show that first forged his artistic identity in 1991 at the influential Nicola Jacobs Gallery, Stubbs exhibited an extraordinary group of paintings each made of a stack of canvases with thick paint oozing out between them, their uppermost surfaces unambiguously decorated like a cake, with oil applied through icing funnels.

The physical act and process of painting couched in a formal construct is explored by Nola Zirin's thick scraped surfaces, Cecily Kahn's dripping take on cubism, and Marthe Keller's insouciant acrylic washes.

Using a mix of bright colors and more muted tones, as well as thin washes and thick layers of paint, Youngblood builds up complex, spatially ambiguous surfaces that in her words «mimic objects, materials, and things from the real world.»

Thick paint, hot colors, hard lines, and a gouged surface reinforce the sense of uneasiness.

On unstretched linen, he layers oil and acrylic paint in thick and uniform quantity, but then strips and sands the surface of the painting to lay bare, in erratic patches, the linen's surface and fibers.

A monumental piece formed by thousands of tiny tiles sliced from a thick skin of acrylic paint, the work's surface involved more building than painting.