Sentences with phrase «thinned with turpentine»

Inspired by the enamel stains of Jackson Pollock and the thin washes of Helen Frankenthaler, Louis created his Veils by pouring Magna acrylic paint thinned with turpentine onto unprimed, unstretched canvases.

Finally, oil paint thinned with turpentine was applied to depict the woman and unthinned oils were used for the beads and the colours on her chest.

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is poured directly onto an unprimed canvas.

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

Not exact matches

Where Pollock had used enamel that rested on raw canvas like skin, Ms. Frankenthaler poured turpentine - thinned paint in watery washes onto the raw canvas so that it soaked into the fabric weave, becoming one with it.

Like de Kooning's paintings of the period, Baselitz's new works impart a watercolor - like fluidity, achieved through the thinning of oil paints with turpentine and their swift, loose application.

Frankenthaler began her departure from Pollock by thinning her oil paint with turpentine and then pouring it directly on to the bare canvas.

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).

Gorky thinned his paint with turpentine and might have applied it with a turkey baster.

A key moment in Frankenthaler's career took place when she began thinning her paints with turpentine so that they would be absorbed into the fabric of the canvas.

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).

Rendered with oil paints thinned down with turpentine on linen canvases, Vecsey's reduced shapes are saturated with color.

She applied this to the processes of art - making: Frankenthaler defied rules about painting as well as printmaking, most consequentially when she thinned her paint with turpentine and poured it directly onto raw canvas, in a manner that radically redirected so - called Color Field abstraction.

She had previously been using turpentine - thinned oil paints to create her seminal soak - stain paintings, but she became dissatisfied with the way the oil paint interacted with her unprimed canvases.

Rather than using paint thickly and opaquely so that it sits upon the surface of the canvas, Frankenthaler thinned her oil paint with turpentine to the consistency of watercolor.

Using matte pigments mixed with turpentine rather than linseed oil, Avery applied his colours in thin layers with a stiff brush, creating chromatic effects of astounding subtlety, delicacy and invention.

In these works, the artist thinned oil paint with turpentine to the consistency of ink and spontaneously let the work, in his words, «pour out.»

Using turpentine in conjunction with oil paints Innes thins and removes layers, revealing underlying colours and leaving the evidence of his process on the canvas.

A portion of the canvas is then treated with turpentine to reveal the thin, brilliant colours underneath that have the same innate fragility and iridescence as Rothko's.

She developed her famous «soak stain'technique, in which she applied paint thinned out with turpentine directly to raw, unprimed canvas.

Working with a large canvas on the floor, the artist thinned her oil paints with turpentine and poured directly onto the canvas.

Her signature paint - thinning technique, in which she diluted the oil paint with turpentine, coupled with an entirely revolutionary method of staining (rather than dripping or brushing paint onto) the canvas undoubtedly changed the course of art history and influenced the likes of Kenneth Noland, Morris Louis and Jules Olitski.

She thinned her paints with turpentine and applied washes of color onto unprimed canvas.

Oil cons: The smell of turpentine If your start painting with oils in a confined space the fumes from the thinners can overwhelm you, turpentine and white spirit can be really strong.

I work with odourless mineral spirits or «Zest It «(a thinner made from citrus) that have a very little odour compared to turpentine.