Sentences with phrase «with oil enamel»
The artist breaks away such divisions and focuses on the creation of the minimal abstract objects — wall - mounted reliefs from foam shapes, which Adian beforehand covers with oil enamel or spray painted canvas.
https://www.widewalls.ch/ Not exact matches
When oil pulling was put to the test for teeth whitening, halitosis, and dental enamel erosion, the results were no better than rinsing with water — or worse.
I decided to follow their instructions and I lightly oiled the pot, however even with that, after the 30 mins pre heat when I pulled it out there was a strong smell of burnt enamel.
Also, can confirm that an enamel casserole dish with lid works fine and bread comes right out with no oil.
Heat your pot or enamel cast iron deep pan on medium high with the oil.
Arrange the asparagus into a single layer on a rimmed baking sheet or enameled baking dish, and drizzle with the melted coconut oil.
Untitled Spray Portrait with Painted Eye, Red Purple Drip, a Staple, a Rip and a BB Hole / 2011 / oil, acrylic, enamel and pastel on canvas / 72» x» 48» / $ 7,000
Over the last several years, her work evolved into depictions of more universal mythologies and populated landscapes: tree spirits; goddesses; lilting, attenuated flora and fauna — first in oil paint, and now with a combination of enamel and oil.
The surfaces of these wooden works are variously inscribed with watercolor, enamel, and acrylic paint, lacquer, oil, colored pencil, and graphite — materials that they share with the drawings that trace the evolution of individual pieces.
In the red and on the hot seat 2014 extruded and fabricated copper with enamel paint, wood, wood putty, papier mâché, Japanese paper, steel wire, acqua resin, acrylic and oil paint 21 1/2 x 21 1/2 x 21 1/2 inches
Still Life with BB Holes, Painted Pear and Learn to Draw Rodent / 2015 / oil, acrylic, enamel, spray paint, ink, gesso, and mud with polymer medium and smoke stain on canvas / 48» x 36» / PLS INQ
Two Line Spray Portrait with Painted Eye and Four White Stripes / 2012 / Oil enamel and spray paint on canvas / 96» x 60» / PLS INQ
Untitled Spray Portrait with Painted Eye, Four Color Drips, a Rip and Two BB Holes / 2007 / oil, acrylic, enamel, and spray paint on canvas / 60» x 48» / $ 6,000
MICKALENE THOMAS Interior: Blue Couch with Green Owl, 2012 rhinestones, acrylic, oil, and enamel on wood panel 108 x 84 x 2 inches 274.3 x 213.4 x 5.1 cm LM15590
Untitled Spray Portrait with Painted Eye and Green Drip / 2011 / Oil, acrylic, enamel and spray paint on canvas / 96» x 48» / $ 10,000
After a few years of working mostly with oil paint — largely for its ability, she says, to capture light and communicate space — she recently went back to making her signature enamel paintings.
Still Life with Orange Drips and Painted Pumpkin / 2015 - 2016 / Oil, acrylic, enamel, spray paint, ink, gesso and mud with polymer medium and smoke stain on canvas / 96» x 60» / $ 12,000
After high school, Ash went on to obtain a Bachelor of Fine Arts from McMurry University in Abilene, where she began to perfect her unique style, working mainly with mixed media, including enamel, oil, acrylic and graphite.
Her work begins with marks, stains and cracks on the ground which Calame traces, then combines layers and retraces, transforming them into drawings in coloured penicl or pure pigment and paintings in enamel or oil pain.
Increasingly she combined Pollock's epic battlefield with the flesh - like leaves of de Kooning's 1948 Painting — but in sepia rather than black enamel and white oil.
Oil and enamel on canvas mounted to four shaped wood boards joined with eight painted metal supports, 87 x 61 3/4 x 1 5/8 inches.
-- Santa Monica Museum of Art, 2012 AUCTION PRICES Come With Me Now, I Need You, 2007; Acrylic, rhinestones, and enamel on panel, 72 x 60 inches; Sotheby's, November 12, 2015; Sale 472, $ 145,000 Quesequzah, Une Très Belle Négresse # 3, 2012; Acrylic, rhinestones, and oil on panel, 90 x 80 inches; Christie's, September 23, 2014; Sale 2875, $ 106,250
Stingel's recipe describes how to whip a brightly - colored oil paint with a kitchen hand mixer, brush it onto the canvas, lay a sheet of gauze over it, rub with a squeegee, spray on silver enamel paint with an air gun, and then remove the gauze to reveal the finished painting.
Just as the artist Natalie Frank has begun to attract widespread attention for her expert paintings that collide art history, theater, and dread - inducing violence, she has deked into a new direction with her latest works, which trade her customary canvases for wooden board that she paints with enamel and then overlays with patches of cut - out canvas that she paints with oil.
In the large enamel and oil on canvas, Number 7, 1952, one can see not only a head, but also Pollock's own footprint in the upper right corner, and the exhibition catalogue points out that Pollock's re-engagement with more overtly figurative work may have been due in part to his time staying at Ossorio's home.
Molly Zuckerman - Hartung Ulcerous gnawing as a reaction to one's embeddedness 2009 - 2011 oil, enamel, leather, collage with artists frame on canvas 18 x 14 inches
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
Oil And meta - flake enamel on resin and fiberglass on plywood with aluminum, 72.84 x 61.02 x 7.87 inches (185 x 155 x 20 cm).
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).
In the case of this work, he works with an enamel, more or less a spray paint, that will mix with the oil and will work together rather than against each other.
ELLEN GALLAGHER, Detail of «Deluxe,» 2004 - 2005 (portfolio of 60 printed objects with aquatint, dry - point, photogravure, spit - bite, lithography, silkscreen, embossing, tattoo machine engraving, laser - cutting, collage, crystals, cut paper, enamel, glitter, gold leaf, gouache, graphite, oil, plasticine, polymer medium, pomade, toy eyeballs, watercolor and velvet on paper; number 16 from an edition of 20 unique variations).
Hilariously gorgeous, even garish, these colorful, highly tactile works combine oil and enamel, are dense with dots, patterns and sartorial finery and suggest an artist thrilled to be painting again.
Long - haired high - heeled budding Asian collectors noted down work by new names such as the charming light - as - air butterfly oil painting at the Grosvenor gallery by Senaka Senanayake and took selfie - souvenirs in front of Love Struck, wrought by D * Face with «enamel and pigment based paint on medium grain cotton duck canvas».
Images from top to bottom: Installation view of Don Judd, Green Gallery, New York, December 17, 1963 - January 11, 1964; Poster for Don Judd, Green Gallery, New York, December 17, 1963 - January 11, 1964; Donald Judd, untitled, 1963, cadmium red light and black oil on wood with galvanized iron and aluminum; Donald Judd, untitled, 1963, cadmium red light oil on wood and purple enamel on aluminum.
St. Andrew, 2006 oil and enamel on canvas in antiquated frame with gilded ornaments painting: 96 x 84 1/4 inches (243.8 x 214 cm) framed: 110 x 98 inches (279.4 x 248.9 cm) KW - 6
Still relatively under - known, Reswob has developed a charismatic style of painting replete with smoldering cigarette butts, anthropomorphized plant - and animal - life, and a mixture of enamel, acrylic, watercolor, and oil pastel.
She has created monochromatic works with oil, enamel, egg tempera, watercolor, glaze, acrylic, and ink.
Jettisoning the so - called abstract paintings she had been producing up to that point — large and literal territories of soiled oil paint peppered with holes punched through the canvas — Pensato took on bucketloads of black - and - white enamel and doubled down on her canvases.
MICKALENE THOMAS Landscape with Ocean, 2011 rhinestone, acrylic paint and oil enamel on wood panel 90 x 100 x 2 inches 2...
Published to coincide with the show The Sleepers at Pallant House Gallery, Chichester, and ahead of a series of important exhibitions and commissions, this beautifully designed and illustrated volume presents all the major works from her career to date, from small - scale intimate paintings in oil and enamel to ambitious high - profile public commissions and architectural projects.
He extends the physical range of traditional oil and canvas with spray enamels and resin additives to enable pronounced juxtapositions of figure and ground.
MICKALENE THOMAS Landscape with Ocean, 2011 rhinestone, acrylic paint and oil enamel on wood panel 90 x 100 x 2 inches 228.6 x 254 x 5.1 cm LM14973
Framed raw canvases stained with dripped enamel and oil paintings hang on museum walls, reviving remarkable works of art from one of America's most prominent artists of the past.
Oil and enamel paint on wood, in a frame by Pierre Legrain, 44 5/16 × 32 1/2 × 2 15/16 ″ (112.5 × 82.5 × 7.5 cm), with frame.
Oil, enamel paint, feathers, pasta, and leather on canvas, in a frame by Pierre Legrain, 30 x 52 1/2 x 6 ″ (76.2 x 133.4 x 15.2 cm), with frame.
4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches
In general, they encompass a broad range with variations that go from the media used — oil painting, embroidery, enamel, and, in a particularly memorable instance, seeds and beans — to the dazzling variety of technical skill displayed by their creators, most being the work of amateurs.
Installation view: From left, «In the Land of the Blind the Blue Eye Man is King,» 2007, from the series By the Skin of Our Teeth (oil, archival ink, paper, Flashe paint, and enamel on five birch panels) by DEBORAH GRANT; «High Life,» 2013 (enamel and charcoal on paper) by GARY SIMMONS; (with work by DARIO ROBLETO in the foreground).
From left, «Carla,» 2014 (enamel, acrylic, oil paint, glitter, rhinestones, oil pastel, graphite and silk screen on wood panel), with «Untitled # 8» and «Untitled # 1.
Energetic and raw, his paintings employ an aggressive use of color and texture with various combinations of oil, enamel, spray paint and collage elements on canvas.