Sentences with phrase «which small canvases»

Fontana will be represented by a focused survey of his nearly five - decade career, spanning his earliest Spatial Concepts, in which small canvases evoke immense galaxies through swirling fields of paint subtly embedded with small stones and broken glass, to his famous Attessi, or cuts, in which the artist has used a sharp knife to literally slice through the canvas surface into another space.

Not exact matches

For your easy to put on need, they have easy canvas material which can be worn with a small force.

A door - mountable canvas shoe holder, which you and your child can decorate with fabric markers or acrylic paint, is a simple way to display and store smaller - sized art supplies that might otherwise find themselves underfoot.

Jason Reitman slowed down and took on a small canvas story with Labor Day, in which fundamentally decent escaped convict Josh Brolin bonds with depressed single mother Kate Winslet and her impressionable 13 - year - old son after coercing his way into their home.

Means to this end include a low - flying tapered nose, small cooling apertures for the batteries and the rear - mounted motor, a flush underside, fixed upper and lower rear air dams, large - diameter wheels shod with relatively narrow tires, and a steeply raked windscreen to which one can attach a simple canvas top.

The soft - top gets a tent - like canvas top pulled over the smaller real one which is the crown, the Spyder.

However, the difference is that whereas Mma Ramotswe is an African Miss Marple - who has an instinctive understanding of people based on her close observations of life in her own small community, the star of this new series is an extremely well read moral philosopher named Isabel Dalhousie which gives McCall Smith a wider and more sophisticated canvas on which to work.

Sahota effectively employs dramatic irony, where the reader is privy to both the whole canvas and smaller details of the characters» lives, which are eloquently painted, and can therefore see train wrecks coming before they actually do.

Overlapping with his first solo museum exhibition in New York, which opens at the Studio Museum in Harlem on July 16 (see below), the show includes five large canvases and a wall of dozens of small - scale studies displayed gallery style.

-- occupy the center of the canvas, which is on the same small scale as before.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Understood in their broadest definition, the drawings and photographs assembled here include a wide range of material, among which are an 1864 photograph of the forest of Fontainebleau by the little - known French photographer Constant Alexandre Famin; a pastel completed earlier this year by Jasper Johns; a 3 x 5 inch Cezanne figure drawing; a new 6 1/2 x 10 foot landscape drawing by Ugo Rondinone; a digitally - manipulated photograph of the musician Björk by Inez van Lamsweerde; a small piece by an outsider artist known as the «Philadelphia Wireman,» who carefully bound his drawings up with bits of wire so they are barely visible; a recent charcoal on canvas by Gary Hume; and a 1949 sketchbook by Tony Smith.

Perhaps it takes the unique perspective of a childhood spent on a small island to see the infinite guises of the world in which we live; Ikeda's unique skill is in his translation of these reflections onto the blank canvas from which, it could be said, all life begins.

A typical Cordy Ryman lies in a hybridized zone between sculpture and painting; pieces of wood or perhaps canvas may be isolated like small geometric paintings or even extended into the full expanse of the rooms in which they are installed, following a kind of modular accumulation strategy.

The Museum's small - format, highly - detailed canvas, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale paintings that will completely fill the exhibition space, each work conveying parts of the scene from a different perspective and in a different painting mode.

This superlative show is huge in every sense: big themes, giant icons of mid century art, enormous canvases, and no small amount of ambition on the Royal Academy's part, tackling an often shied from movement — or «ism» — which was last explored in such a survey in the UK back in 1959.

Each of his chosen images, which are drawn from found or remembered source material, is subdivided into a grid of small squares that are transferred to the canvas one by one.

For his exhibition Plegarias, opening Saturday, November 7, 3 — 6 p.m. Lorenzo Hurtado Segovia's work consists of small paintings on wooden panels, paper and canvas which continue the artist's Christian references inspired by ornamentation common to small Catholic chapels and matachín outfits.

Each work is a vast picture made up of smaller paintings, which the artist cut out and glued to the canvas.

We see Mr. Castellani hit on his signature approach in the 1959 «Superficie nera,» a small, charming all - black work in which the bulges in the canvas result from chestnuts, not nails, and the effect is of a starry sky.

In her latest show at Blue Mountain Gallery, which opens on October 5th with a reception for the artist October 7th from 5 - 8, Margaret Grimes shows three large canvases and a series of small ones all depicting woods and thickets.

The shift in scale from massive to manageable is counterbalanced with visual density: the washy grey ink on the larger works allows light to pass through to the primed canvas lending them an airiness in contrast to the smaller pieces, which are so thoroughly inked they absorb light.

In addition, smaller Pond studies which Rohrer created on canvas and paper will be shown.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Since then, Tuttle has presented prominent and influential series in the history of contemporary art such as the cloth pieces, which he installed dyed and cut canvas on the wall, and were both pictorial and three - dimensional, and the wire pieces, which consisted of wire and its shadow and pencil lines, and small - scale collage pieces among others.

Parallel to these large - format paintings in which Martin also integrated his art therapeutic work with HIV - infected patients, the painter produced small - format coloured canvases.

Using a «found» Korean action thriller by director Kim Jee Woon, entitled A Bittersweet Life (2005), Webster works with paint and encaustic wax on large and small - scale film stills (computer - generated screenshots), which have been printed onto synthetic and slippery digital canvas.

Drawn from public and private collections, it includes a number of the monumental canvases for which the artist is widely known, as well as smaller works that offer an intimate perspective on her creative process.

In 1957, shortly after accepting a teaching position at the State University of New York at New Paltz, he began to paint small canvases featuring single apples which were modeled and painterly.

The entry space to the four floor show includes a fifteen - foot canvas by artist Dan Colen which uses crushed flowers as its medium and serves as a dynamic companion to the small scale poured Kool - Aid image by David Hammons.

Bessone works from images of small porcelain figurines, which she enlarges to fill colossal canvases.

The two pieces by Julie Torres are both conceptual works about capital - p Painting: «Room with a View» is a small canvas on which super-thick layers of acrylic paint make something that appears, all at once, like a window, a picture inset into photo corners, the back of a stretched canvas.

Her initial breakthrough came in 1959 with a work called «net painting,» on which she covered a large canvas with countless patterns of small netting.

One particularly striking work is Molly Zuckerman - Hartung's The Failure of Contingency (2012), in which painted ribbons of canvas spill like linguine over the floor, beginning from a small square frame and ending in a puddle of fabric underneath two folding chairs.

His nudes, on the other hand, reveal echoes of the past, as can be seen in the small series made in 1997 which comes back to life in the rectangular outlines of a canvas and in the change of technique to oil painting.

All of the paintings in the exhibition began as small collage studies, which were utilized as maquettes for much larger works that were transferred onto canvas as a blueprint of the original, and then heavily embellished with multiple layers of paint.

His first London show also includes a room in which very much smaller paintings, made on 81 acetate slides, are projected on a scale far longer than the works on canvas in a 13.30 minute loop.

Patrick Lakey's flatly lit blend of still life and (nude) self - portraiture, from a series in which he plays dozens of characters from the Marquis de Sade's writings, caught hold of me at The Happy Lion's booth; at Madrid's Travesia Cuatro, Gonzalo Lebrija's intimate communion between himself, wearing a red hooded sweatshirt, and the lone red canvas in a selection of On Kawara «Date Paintings» brought out the latent melancholy in any notation of time; and at Cherry and Martin, Elad Lassry's small - scale conceptual tableaux possessed at once a fierce confidence and an estranging oddness.

The show at Werner featured two huge inarticulate canvases of a skinny apparition dressed as a bat, plus several small landscapes, which transpose Doig's iconic canoe from northern Ontario to equatorial climes.

The catalogue presents numerous large paintings on canvas from the 1960s to the early 1980s, as well as small - scale paintings on paper, to which Bishop turned exclusively in 1986 and which he continues to produce today.

Other highlights of this auction include Lot 20, «Duridium,» a 26 - by - 36 inch magna on canvas, dated 1964, by Roy Lichtenstein (1923 - 1997), estimated at $ 600,000 to $ 800,000, which sold for $ 607,500; Lot 21, «Ileana Sonnabend,» a 1963 metallic paint on canvas, 77 3/4 - by -128-inch work by Frank Stella (b. 1936) that has a high estimate of $ 600,000, and which sold for $ 684,500; Lot 29,» Evening in the Studio,» a monumental painting that out - Rubens Rubens by Lucian Freud and has an ambitious high estimate of $ 3,500,000, and which sold for only $ 2,422,500; Lot 30, «Lying Figure,» a large, interesting composition by Francis Bacon (1909 - 1992) that has an ambitious high estimate of $ 2,500,000 and is starker than his more painterly small works, and which was passed at $ 1,600,000; Lot 35, «Bedouin (Personage Gris et Rougeatre),» a great Jean Dubuffet (1901 - 1985) painting that is conservatively estimated at $ 700,000 to $ 900,000 and which sold for $ 992,500; and Lot 46, «Aux Bons Principes,» a more colorful but not as strong Dubuffet that has an ambitious high estimate of $ 3,000,000, and which sold for $ 2,202,500; and Lot 63, an untitled, large painting by Sigmar Polke (b. 1941) that has a mysterious, luminous and mystical sense of a great mountainscape by the Sung Dynasty masters of China and has a conservative high estimate of $ 300,000, and which was passed at $ 150,000.

The works that are on display at MAMbo consist of both monumental canvases which provide space for sprawling narratives of compositional complexity and smaller paintings which focus on the study of individual subjects, portraits that push the figures portrayed into the foreground, as if under a microscope.

What about the slightly smaller canvas, which has a different self - portrait and another portrait of an unknown woman hanging on the wall by the double bed, that was executed about three weeks after the second iteration and is in the collection of the Musée d'Orsay in Paris?

The phrase fits the freshness and evident spontaneity of Mr. Shear's small canvases, which average 10 inches by 8 inches.

In her latest works, Tschabalala Self continues to depict the regal black body — reposing, dancing, making love — to reverberating effect in large works of paint on canvas to which she appends found fabrics and smaller pieces of painted canvas.

«Unbound» is flanked on either side by two smaller works on canvas that display the deconstructed cover material, which varies between cardboard, paper, and canvas.

«Doubles, Pairs, and Diptychs» highlights three modes of Wesley's painting practice: paintings that extend beyond a single canvas; individual works that are conceived formally or conceptually as pairs; and individual works that have virtually identical compositions in which small shifts in color, scale, and line create distinct visualizations.

Leaf consists of a six - by - six - foot primed canvas, the surface of which is divided with 255 horizontal and 71 vertical pencil lines, creating a geometric web of small rectangular spaces.

[6] Between 1964 and 1966, Palermo produced a small series of paintings on canvas in which he experimented with constructivist principles of order.

It's bracketed by eight small acrylic studies from 1975, all of which look better than the monumental canvas they surround.