Sentences with phrase «white painted field»

Just before that I was making combine pieces using wood and stone in relationship to a white painted field.

Not exact matches

He says this matter - of - factly as you begin walking through a scrubby field to an old white farm house, ramshackled and sagging, in need of paint, but generously proportioned and graced with a wraparound veranda.

Black and white drawings interspersed with full color paintings depict the life and career of this Puerto Rican baseball player, and the struggles he bravely faced on and off the field.

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.

The whimsical Phalli's Field involves white stuffed fabric tubers painted with bright red polka dots.

He also painted a related series with secondary colored dots on white fields, and a smaller group with gray dots on white fields.

In Chestnut (1955), the painting's white field is broken along the center, as if a chestnut tree were pushing through the pigment; and in Red, blue, black (1957), the thick, dark red ground gives way at the center to black calligraphed lines concentrated within dense gestural brushwork.

Viewed within the modern monastic space of the Paul Kasmin Gallery, with its cool white walls, polished floors, and concrete ceiling, the visceral earth tones and frantic forms of Lee Krasner's «Umber Paintings» emerge as fields of boundless energy.

Painted with a palette knife during a single session in the studio, the paintings juxtapose a single, highly finessed field of color against a solid, white band commonly along the bottom or outside edges of the work.

The exhibition features a new series of Boo Saville's colour field paintings, which are shown in dialogue with a number of black and white canvases.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

AUGUSTA, GA — Opening January 16th, the exhibition Painting in the Expanded Field includes Molly Zuckerman - Hartung along with Inna Babaeva, Cora Cohen, Nicole Cherubini, Liz Deschenes, Suzanne Joelson, Annette Lemieux, Jessica Stockholder, TM Sisters, Wendy White, and Tamara Zahaykevich.

Before I began my fifteen series paintings, 9» x 6», large open fields with 4» borders I made a group of nine or ten large hard edge paintings in mostly primary colors and some smaller ones a few of which were in black and white.

I now could see his transition from color - field painting, in a black - and - white work dating from the 1970s.

That year he made new dot paintings on white fields that introduced an abstract and new compositional awareness to his dot paintings that emphasized the unique character of each picture.

It is a stippled, shifting field of striped grey composed entirely of tight graphite lines and white paint.

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.

That same year Peter Young painted a series of large abstract paintings that were tight clusters of primary colored dots on white fields.

The dye will saturate, run, and dry over the course of the exhibition — eventually turning the white felt from pale blue to almost black — transforming the material into a colossal color field painting, a rolling mountain landscape, or even the hump of a whale.

That year Young made a major series of colored dot paintings on white fields that skyrocketed him to international attention.

Ward overlays this contemporary monetary reference with cowry shells, an earlier form of currency found in many cultures, and gives the paintings a distinct patina by pouring and rubbing white rum flecked with gold and silver powder in a ritualistic fashion, producing an ethereal aura much like a Color Field painting.

Embracing movement, light, and the limits of visibility, «Invisible Reality» presents nine white cubes, standing on axis, reflecting a subtle color field back to the viewer, culminating in a protean, ever - changing painting that is never the same work twice.

In the large painting RIW - 1301, arrays of seductive white starbursts greet the viewer through a pied field of red and indigo.

And these big red paintings, marked in red (with one small white exception) with a kind of insignia or logo pushed at times to the edge of the field or centering it grandly, all on sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by fashion) and the lush severity and awe of Great Painting.

Painted on un-primed supports, fields of dark charcoal or pencil - drawn areas on modulated titanium or zinc white acrylic fields respond to each other to create a delicate interplay of opposing forces.

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

In his White Paintings and Black Paintings (1951 — 53), Rauschenberg had avoided all aspects of composition and expression associated with painting defined either as a product of gesture (Abstract Expressionism) or as color combination (Josef Albers and Color field Papainting defined either as a product of gesture (Abstract Expressionism) or as color combination (Josef Albers and Color field PaintingPainting).

«These black - and - white drawings inspire her bold - hued paintings with touches of cubism, color field, and strong lines... read more... «Amy Sillman's couple fixation»

In that picture the boys are white, and painted on linen — a highly difficult surface to control (ask any color field painter).

A fine lightness is even more vivid in reproduction, where the painted fields let in white from the page or screen.

A seemingly all - white painting soon reveals itself to have a multi-planed surface with carefully defined fields that are not pre-determined but are arrived at organically.

An off - white line running diagonally across the painting's upper left bisects those two wavering fields.

Sometime in November or December, while working at night at Dartington Hall and listening to the horses breathe in the field outside his window, he painted a series of three paintings,» Broadway», `' Welcome Hero», and `' Broadway Norm», in the style that would become known as «white writing» (an interlacing of fine white lines).

At the time of the artist's death in 1965, eight monumental steel sculptures, painted white, stood in the fields surrounding his home and studio in the Adirondack Mountains; many of these will be on view at Storm King.

A new series of paintings offers an interplay of black and white rectangles as they appear to swell and warp over a field of subdued grey.

Viewers must cautiously walk the narrow and dark path between the wall and canvas, following the painting's soft fields of muted beige gradations, outlined and entangled by the white, red and black lines traced with her signature oil sticks.

These works also include a field of expressive white and grays painted to conjure a meaningful visual composition, said Oriti.

Landscape has always been an important element in my paintings, but the white on white wilderness and purity of Antarctica, its amazing wildlife and history soon convinced me to continue to work on the color field paintings but also to expand the vision in a number of other directions.

In 1962 Diller introduced a new format in his «first theme» paintings consisting of white, black, yellow and blue squares arranged on a grey field.

(Confusion about orientation struck again in 1968, when Tobey's painting Autumn Field was discovered to be hanging upside down outside President Lyndon Johnson's office in the White House.)

His paintings are predominantly large - scale, freely - scribbled, calligraphic and graffiti - like works on solid fields of mostly gray, tan, or off - white colors.

He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red on the painting's surface.

Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well - lit field of modern paradigms: by referencing the monochrome as he did in his previous «joke» paintings, by reintroducing collage and silk - screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

This makes it vastly easier, for example, to read a work like Plotos, once you know it is the reflection in the water of a fender alongside a vividly painted boat, not a top spinning on a blue field and scattering de Kooningesque ribbons of orange, yellow and white.

Each of the three paintings featured a stenciled thicket of black lines crisscrossing a field of bright orange brushwork and white gesso, with a pitch - black area taking over the right third of the support.

Painted in 1947, it features a pair of umbrellalike shapes that might also be interpreted as morning glory flowers or eyes peering from above a vertical field of black and white stripes.

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

His mid 20th century paintings demonstrated a sensuous feel for paint and for colour, that was unrivalled at the time, and ranged in colour from monochromatic but luminous browns, greens and blacks, to luscious fields of red and white.

Each painting is built up of delicate webs of graphite or pigment on either a black or a white field.