Sentences with phrase «white paint on the canvas»

Pousette - Dart created a number of works in the early 1950s like this one, using pencil and white paint on canvas or board.

After painting a billion coats of white paint on the canvas I finally had a clean slate for my quote art.

Not exact matches

In Rift (Lavender) the lone painted triangle is set on a canvas of stretched white synthetic fur.

The Pechanga Collection By Todd White includes 11 original, vibrant oil - on - canvas paintings by the internationally recognized creator of the official 49th Annual GRAMMY Awards artwork.

Decorate your fireplace mantel by adding a festive artwork this March by painting a chevron pattern or two shades of green on a small canvas and adding the words you are my pot of gold using white vinyl for some inexpensive art perfect for St. Patrick's Day.

It reminded me of a Kandinsky painting with vibrant colors and bold lines on a white canvas.

I am especially drawn to the canvases you spray painted with the black and used white chalk paint on.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

Wieco Art - Architectures Modern 4 Panels Giclee Canvas Prints Europe Buildings Black and White Landscape Pictures Paintings on Canvas Wall Art Ready to Hang for Bedroom Home Office Decorations

Contemporary directions — earthworks, conceptual art, art as information, etc. — certainly point away from emphasis on the individual genius and his salable products; in art history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World, New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of Art.

Painting outside in public can be hazardous in such a culturally deprived location, by this I mean — the people walking by and comment on your painting are likely to heap insane amounts of praise (sometimes for just setting up an easel — with a white Painting outside in public can be hazardous in such a culturally deprived location, by this I mean — the people walking by and comment on your painting are likely to heap insane amounts of praise (sometimes for just setting up an easel — with a white painting are likely to heap insane amounts of praise (sometimes for just setting up an easel — with a white canvas!)

Seascape — Isle of Shoals, 1902, oil on canvas, 29-1/8 x 37-1/2 inches, framed by Gill & Lagodich for the High Museum of Art, Atlanta; c. 1900 Stanford White - style American painting frame, gilded carved wood, attributed to Milch Galleries, New York frame makers.

Still Life with Four Blue - Green Stripes, Two BB Holes and White Drips / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

Already using black - and - white palette in a series of ink on paper sketches, Kline now expanded the method employed the canvas and house - painting brushes that enabled him to create broad strokes of dark color intersecting the white background.

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

Two Line Spray Portrait with Painted Eye and Four White Stripes / 2012 / Oil enamel and spray paint on canvas / 96» x 60» / PLS INQ

Though not named, other connections are suggested: to Robert Ryman, in an all - white painting executed on slices of Wonder Bread; to Eva Hesse's 1966 Hang Up, in a painting from which a loop of stiffened string extends; and to Bruce Nauman's 1967 neon spiral proclaiming «the true artist helps the world by revealing mystic truths,» in a canvas called Grandiosity and Depression (1988 - 90) that bears, in snaking letters, a quote from Alice Miller.

The colour fields are inextricably linked to her black and white canvases, the subjects of the latter — sparingly painted so as to retain the appearance of the canvas weave — resulting from internet searches that occur to her whilst working on the abstracts.

Spurred on by a 1960's enamel on paper drawing by sculptor David Smith (1906 - 1965), Wendy White presented a new painting featuring multiple canvases with spray - painted gestures and hints of language.

In a related exhibition uptown (at the Marian Goodman gallery), new canvases and wall paintings jostle with three older quincunxes made of white paint on yellowing newsprint.

That exhibition thematized the relationship between Liu's paintings and his three - dimensional sculptural forms via explicit formal echoes: Black - and - white geometric paintings were adroitly paired with rectilinear pseudotopiary sculptures in which bands of foliage were interspersed with horizontal neon lights, while the oscillating static playing on stacked TV sets chimed with the abstract canvases as well.

The evening's top grossing lot was a simple, austere and zen - line Barnett Newman black and white Black Fire I, oil on canvas, Painted in 1961.

To produce these paintings Richter begins by placing a number of white primed canvases around the walls of his studio, eventually working on several of them simultaneously and re-working them until they are completely harmonized.

The exhibition at Lisson Gallery includes Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

The palette is reduced to black and white and the artworks themselves look more like drawings, than oil on canvas paintings.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

Chris Oatey, Center: at rest, 2012, paper, rope, acrylic, enamel, 108» x 26» x 24» Upper Right: mirage painting (black / white), 2012, enamel on canvas, 34» x 30»

There is also a sense of tame psychedelia that pervades in all three artists» works, from Bergstrom's small formalist paintings that use text as a compositional device — a blue and white canvas that spells Bad Trip, abstractly scrawled across the canvas — to Norton's An Altered State, where peyote and poppies are pressed between sheets of glass and fired, installed on the wall.

In the four epic - scaled paintings on display, «Walpurgisnacht — Faust I,» «Walpurgisnacht — Faust II» (both 1956), «The Temptation of St. Anthony» and «The Concert of Angels» (both 1957), the naked female bodies crowding the canvases are ghostly white (and in the two later paintings, they are mossy green, burnt orange and blue - violet as well).

«Peinture - Sculpture», 1971 paint on white and blue striped cotton canvas 20 x 10 meters installed, folded 15 x 130 x 89 cm

Painting with a single layer of paint on a white ground, Neel «draws» with her brush directly on to the canvas, using the brushwork and harsh colours to convey information, not for their own sake.

In 2004 Bartlett began to incorporate words into her paintings, including her recent Hospital Series based on photographs she took during an extended stay in the hospital, in which she painted the word hospital in white on each canvas.

Rudolf de Crignis, Painting No. 97 — 23 (Ultramarine Blue, Zinc White, Ruby Lake), 1997 Oil on canvas, 30 x 30 inches May 21 — July 3, 2009 Lawrence Markey presents an exhibition of paintings by Rudolf de Crignis (1948 — 2006), entitled grays and blues.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

This is evident in the eerily haunting Têtes (2014), a dream - like, spiritual grouping of horse heads inspired by a visit to the Chauvet cave in southern France, and the stark white yet deeply moving Courant Central (2013), a heavily painted composition of pigment and vinyl on canvas that evokes an overpowering, heavy river current.

Hanging in the clean white space are nineteen of his recent paintings: gestural abstractions striking for their stacks of bold, modular brushstrokes (mostly black on white grounds) and unusual formats (many of the canvases are exceedingly narrow and tall).

As spacious and sleek as the work itself, this monograph reproduces two sculptures from 2004 and 2005, along with 17 new paintings dating from 2007 and 2008, eight of which consist of a black or white rectangle with a contrasting black, white or colored rectangle placed diagonally on top and extending beyond the boundary of the canvas below.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

The red thumbprints visible in this composite are hidden under the loose canvas on the tacking edges of the panels in White Painting [three panel].

In 1951 — 52 Pollock turned away from color, just focused on black and white, just dripping and pouring the black ink on the pain canvas, those beautifully inked and juicy paintings.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

Similarly, the distinctive and highly acclaimed inkjet - printed paintings of Wade Guyton on the first floor — with a suite of his striking flame canvases shown in a wood - paneled den and another of his stark white paintings on display in a barren, decrepit room — are testimony to this brand of work's seductiveness and popularity.

In each of the paintings a rectangular canvas is painted with numerous layers of white paint, on top of which the artist affixes a (usually) black canvas.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

Image: Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection, © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

NICOLAS CARONE Untitled (P -2616-S), 1956 Oil on canvas 22 x 29 inches Signed recto lower right Abstract expressionist painting in black and white.

Abstract Oil Painting, Black White Oil Painting, Geometric Art, Large acrylic painting, Minimalist Artwork, Oversized Painting on caPainting, Black White Oil Painting, Geometric Art, Large acrylic painting, Minimalist Artwork, Oversized Painting on caPainting, Geometric Art, Large acrylic painting, Minimalist Artwork, Oversized Painting on capainting, Minimalist Artwork, Oversized Painting on caPainting on canvas Art

Physically moving around a black - on - black painting of a cubic grid will reveal layers of optical illusions, while simply blinking when standing in front of a canvas covered in a complex navy - and - white pattern tricks the eye into seeing an oscillating, three - dimensional piece of art.