Before Arshile Gorky used paints
thinned with turpentine for Abstract Expressionism's most fluid creations, he boasted of his thick surfaces.
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.
Many of Innes» paintings are created through a process of addition and subtraction, sometimes removing sections of paint from the canvases
surface with turpentine to leave only the faintest traces of what was there before.
While leftover cooking oil from street vendors, mixed
with turpentine doesn't drive like the diesel they are used to, it helps pay the bills.
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).
Most of his paintings are made by «un-painting» as well as painting: A language that he has made his own; oil paint is applied in layers and dissolved
away with turpentine, forming something quietly and unexpectedly beautiful.
These pictures were based on a 1979 series of oil - on - paper paintings,
Drunk with Turpentine, which Motherwell had generated by the process of automatism.
Her technique of using oils
diluted with turpentine directly on very large, unprepared canvas, created a field of transparent color.
She developed her famous «soak stain'technique, in which she applied paint thinned out
with turpentine directly to raw, unprimed canvas.
He then diluted the
pigments with turpentine solvent, allowing them to seep into the fibers of the support, staining it in a similar way to traditional ink on absorbent paper.
Defacement again came into productive play with Wool's Untitled (2007), spray - painted on linen and rubbed
raw with turpentine, and Guston's North (1961 — 2), which used a similar method of scribbles of black paint bleeding into a white ground to produce dense passages of grey.
Rendered with oil paints thinned down
with turpentine on linen canvases, Vecsey's reduced shapes are saturated with color.
The air in the studio was
sharp with turpentine, which almost served as a sexual accelerant, for the art students, all upperclassmen, seemed unusually attracted to one another.
Nestled in a park - like setting,
with a turpentine forest backdrop, Ferngrove Estate homestead reflects an atmosphere of tranquility.
You can almost smell the struggle inside Lehmann Maupin this month — it's mixed
liberally with turpentine, linseed oil, and the scent of fresh paint.
[38] Unlike modern water - based acrylics, Magna is
miscible with turpentine or mineral spirits and dries rapidly to a matte or glossy finish.
Callum Innes paints large rectangles in Scheveningen black, then all but washes out the
black with turpentine until one sees shades of green and blue.
The paint is manipulated across with rags and then with help of brushes
soaked with turpentine - this technique allows the artist to create atmospheric shades of gray continuously pinched with black lines, subsequently photocopied and printed onto 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.
The dark paint was thinned so
extensively with turpentine that the pigment particles became too separated to form a continuous film after the turpentine evaporated.
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.
Music blaring, the air
spiced with turpentine and oils, we entered his alternative akimbo street life of political musings and glaring figures captured in his now well - known singular acrobatically edgy vision.
It worked great and was fast and easy (until I had to clean the
sprayer with turpentine; — RRB - The finish has withheld the use and test of time.
Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint
thinned with turpentine is poured directly onto an unprimed canvas.
His paintings are created through a process of addition and subtraction, sometimes removing sections of paint from the canvases
surface with turpentine to leave only the faintest traces of what was there before.
Perhaps most telling in all of Wool's repertoire of anti-gestural gestures is his propensity, since 2000, to paint by erasing — to wipe
away with a turpentine - soaked rag the marks he's already made.
Using a restricted palette, Yun applied layers of pigment to raw canvas in vertical or horizontal bands interspersed with blank space; working on his studio floor, he diluted the paint
with turpentine so that it would gradually bleed into the support.
His abstract paintings realised in the late 1950s and early 1960s involved a fluid application of oil paint
mixed with turpentine, a technique that he had learnt from Victor Pasmore, and these works were reminiscent of the impressionist style.
When Guston was dissatisfied with what he had done, he wiped the surface
with turpentine or scraped off the paint and drew something else — a book sitting open in an erased cloud.
Frankenthaler began her departure from Pollock by thinning her oil paint
with turpentine and then pouring it directly on to the bare canvas.
Usually I draw with pale yellow on the panel, because it can disappear — it is easy to rub off
with turpentine, or I can scrub it around with the turpentine.
Gorky thinned his paint
with turpentine and might have applied it with a turkey baster.
Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned
with turpentine is
The stain - painting technique used by Helen Frankenthaler, and later by Washington Color School artists (counterclockwise from top): Magna paints (such as the vintage examples used here) were thinned out
with turpentine and then poured across raw, unprimed canvas.
To make the paintings, Baselitz laid out his canvases on the floor of his lakeside studio in Upper Bavaria, and set to work with impulsive brushstrokes using oils thinned
with turpentine.
Using paint thinned
with turpentine, she fused stained color, raw canvas and gesture, creating a freewheeling composition of blurry shapes, whiplash lines and splatters that looked forever elegantly unfinished, caught in the moment.
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.
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.
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.»
... oil paint mixed
with turpentine to, roughly, the consistency of ink, I had a similar «outpouring», though I made less than a hundred works which I call the Drunk with Turpentine series, a title that no matter how evocative, is also literal.