Sentences with phrase «world of paint colours»

It will instantly take the wide world of paint colours (thousands) and narrow it down to a manageable number from which to select the perfect colour.

Not exact matches

By leading the decorative painting revolution over the last three decades, Annie Sloan is widely recognised as one of the world's most respected experts in paint and colour.

One of the world's most respected paint and colour experts, Annie Sloan brings decades of knowledge — and plenty of style — to her hugely popular line of decorative paint, Chalk Paint ®.

Two painters discover a world of many colours after they accidentally mix some paints together.

The Renault Lodgy World Edition was painted in Fiery Red colour with an appearance similar to that of the Step Away edition with crossover like characteristics.

This special edition Bugatti Veyron 16.4 Grand Sport Vitesse will be available in a World Record Car (WRC) Edition and only eight examples of the limited edition Bugatti will be made, finished in black and orange dual - colour paint.

Red carpeted staircases leading to various lounges and cosy corners, suits of armour standing to attention over antique furniture, sultry colours, paintings and porcelains acquired as they travelled the world.

hey so i am a student and i doing a series of artworks about «Making your Marks» and for this series i wanted to make a literal mark on the world so my series consists of me just randomly making my mark on an a4 piece of paper which is the world map, i used water colour paint and some random marks with a permanent marker.

By the end of her life, Neel was painting a pretty rarefied milieu - society figures, the upper echelons of the art world - and she captured them perfectly, down to the colour of the nail polish they wore, the soft leather of their handmade shoes.

A new exhibition of Wassily Kandinsky's work shows how the artist used his synaesthesia - the capacity to see sound and hear colour - to create the world's first truly abstract paintings.

Fletcher is interested in shape, colour and the natural world along with the material qualities of paint, enjoying its texture as he uses it to build form.

1, no. 8, November 1970; (introduction) John Hoyland (catalogue), Beaux Arts, London, 2003 Maloon, Terence, «Hoyland Retrospectively» in John Hoyland, Paintings 1967 - 1969 (catalogue), 1979 Maloon, Terence and John Edwards, «Two Aspects of John Hoyland» in One, no. 2, 1974 Marginson, R.D., (foreword) John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1969 (catalogue), 1979 Maloon, Terence and John Edwards, «Two Aspects of John Hoyland» in One, no. 2, 1974 Marginson, R.D., (foreword) John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, Lonpaintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, London, 1990

Making it was a simple strategy of separating out facts from feelings, choosing «givens»: the canvas for the outer world of facts, and poured paint (added to it in a mixed complex of colour) for the inner emotional world of feelings.

For Frieze magazine, Morton reviewed Story's 2011 show, «Angeles», at Carl Freedman Gallery where she explored the world of early cinema with paintings of cameras in a subdued colour palette of off - whites and terracotta.

London, Whitechapel Art Gallery, Whitechapel Artist Award: Peter Doig, August - September 1991; Bremen, Gesellschaft fur Aktuelle Kunst, Peter Doig: Homely, June - August 1996, p. 7, illustrated in colour; London, Saatchi Gallery, The Triumph of Painting, January - July 2005, p. 39, illustrated in colour; Beijing, Farschou Foundation, Peter Doig: Cabins and Canoes: The Unreasonable Silence of the World, March - June 2017, p. 18 and pp. 56 - 61, illustrated in colour

Anthea Hamilton — renowned for her bold and humorous works that often include references from the worlds of art, fashion, design and popular culture - has designed seven costumes in collaboration with Jonathan Anderson, LOEWE's Creative Director, that incorporate the colours and the shapes of different varieties of squash or pumpkin; many of the silhouettes of the costumes, made with materials such as hand - painted leather or painted silk crepon, were inspired in designs from the 1970s.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

Erik Parker is known for his precisely painted and organized worlds of chaos that exist within his brightly coloured, intensely layered, highly saturated canvases, that riff on the traditional genres of portraiture and still - life.

The show will present examples of Bickerton's earlier consumerist work as well as his tropically - coloured mixed - media paintings, which explore themes varying from fantastic eroticism and nightmares, to «the end of the world».

This method of application produces a veil of colour that glows as if lit from behind, reminding the viewer of painting's social function as a window to another world.

His paintings from the 1950s reveal subtle changes in the natural world through the use of imagery constructed with delicate, sensitive colour tonalities, floating within the compositional space.

From Isaac Newton's optics to impressionist theory, from the dynamics of Josef Albers to the contemporary metaphysics of Olafur Eliasson, this book shows how colour paints our world.

In Forms 1, irregular, roughly geometric forms in four loose columns situate themselves on a grey ground, which looks as though it may be comprised of many layers of other colours in order to arrive at the richness of the final colour... Here, Parsons does not take some real world starting point and abstract from it in the process of representation, rather she invents by pushing the paint about on the canvas until forms suggest themselves.

Using bright coloured pencils, she delicately paints scenes from natural landscapes, and sometimes even takes inspiration from some of the world's biggest cities, such as London and New York.

The strangest feeling, as I remember it, was to locate the white shapes locked safely into the colour grid, but to see them also as free and ready to enter our space, our world... The conundrum of these masterpieces is that they are decorative without being designs, pictorial without being paintings, heart - stopping in their directness, their economy, their inventiveness.»

What he really dared in Trinidad was to confront, in a natural world of tropical extremes, the question that had only simmered in his Canadian works: what can a painter trying for an unbroken lineage with the formal assonance, sensual colour and expressiveness of modernism dare to paint in the 21st century?

By this time however, Bonnard's style of oil painting had fallen out of favour with the post-war world, which found his luxurious colours not fitting with the times.

At first glance King's paintings seem to epitome of this self - obsessed approach but the internal dynamics of colour and shape generate tensions which link the work to the external world.

With their layered, almost three dimensional worlds of wild colour touched off by subtle, delicate lacy mist, these powerful creations remind me of some of Jackson Pollock's paintings.

The paintings combine imagery sourced from the internet with archival material from old books and magazines in order to visualise a world in which nothing is stable or certain, echoing the tectonic cracks appearing in the old world order.A number of new works contain abstract elements, richly coloured striations, which are derived from found images of cracked plasma screens.

Influenced by moody, classical painting aesthetics; the subtleties of tonal colours and composition, «De'Souza - Hartley's imagery is often an intoxicating paradox within a silent world; dark, but resolutely beautiful».

The paintings refer to our experience and memory of colour and light in the world, creating a chroma - chord experience.

But emigre that he was, with a Northern sense of colour and ironic view of life perhaps inherited from his homeland, de Kooning brought a New World brash sensitivity to bear on his personal development from Picasso and Soutine, and perfected a richly hectic sense of colour that does a great deal to accelerate and to assuage the rush to our nerve - endings that the finest painting by de Kooning always detonates.

Colour field painting came about as a result of different independent attempts by Still, Rothko and Newman, during the late 1940s, to create an eternal form of art which might transcend the ethical collapse triggered by the chaos and carnage of World War II: a type of painting that would speak for itself.

Using a wide range of media including painting, drawing, photography and installations using fluorescent lights with coloured filters, Finch distills his views of the world into glowing abstract colour.

Phillips was influenced by Japanese landscape painting and woodcut style ukiyo - e — which translates as «floating worlds» — evidenced in the flattened depth and bright colours of his work from the 1920s onward.

She fast arose interest in the art world with object - oriented paintings of contrasting colours and transparencies.

In addition to leading the world's most popular art movement, Monet's late waterlily paintings - characterized by exceptionally loose brushwork and swirls of colour - anticipated later 20th century styles like Abstract Expressionism (c.1945 - 1962).

For «Extremes and In - betweens», the LA - based giant, whose work has influenced generations of artists working in painting, photography, and artists» books, presents a series of works from 2016, rendered in earth tones («a colour that forgot it was a colour») and focused on geography and the way we see the world.

The 85 - year - old Kelly is one of the few artists surviving from the great age of American abstract art that gave the world abstract expressionism, colour field, minimalism and hard - edge painting.

The Fruitmarket's summer exhibition of work by American artist Ingrid Calame whose beautifully - coloured, intricate drawings and paintings have a specific, if abstracted relationship to the world.

The exhibition focusses on the artist's recent White Paintings, which represent a counterbalance to the large - scale vibrant canvases of intense colour for which he is known throughout the world.

The Fruitmarket Galllery's summer exhibition of work by American artist Ingrid Calame whose beautifully - coloured, intricate drawings and paintings have a specific, if abstracted relationship to the world.

The work's intense colours, inspired by the painted tombs of ancient Egypt, demand a clean formal structure: the simple stripes of Greensleeves scintillate in gorgeous optical fusion, singing a rhythm of radiance and repose that gestures beautifully to the wonder of the world around us.

A decade after his initial plunge into the New York art scene and the world of abstract painting, Bowling — then at the vanguard of Greenbergian post-painterly abstraction — returned to London, both confident in his instinctive understanding of and facility for paint, colour and form, and restless to experiment with new techniques and traditions.

Represented South Africa in Lisbon at the Gulbenkian Foundation Represented South Africa at the Venice Biennale 1969 Work reproduced under the category World Painting in Encyclopaedia Britannica 1971 Represented South Africa at Sao Paulo Biennale, Brazil Invited to International exhibition Xilografia Contemporanea Bologna, Italy - Galeria Chalet Della Rose Exhibition of «Icons» at Totem - Meneghelli Gallery, Johannesburg 1972 Retrospective exhibition at Pretoria Art Museum Exhibition at William Humphrey's Art Gallery, Kimberley Exhibited at National Museum, Bloemfontein 1973 Created the Assassination of Shaka portfolio of 43 original three colour woodcuts with Stephen Gray's poetry 1974 Represented South Africa at the National Art Museum in Athens Exhibition at Royal Belgian, Congo Museum, Tervuren, Belgium Exhibition of The Assassination of Shaka at the Kunshistoriches Museum, Vienna Exhibition of paintings at the Goodman Gallery, Johannesburg 1976 Awarded Medal of Honour for painting by the Suid Afrikaanse Akademie vir Wetenskap en Kuns Presented with set of commemorative medallions - 1820 Settlers National Monument Foundation for contribution to art in South Africa Exhibition of wood panels and ten landscapes, a portfolio of original woodcuts with poetry by Stephen Gray at Goodman Gallery, 1977 Exhibition of panels, totems, woodcuts, drawings and jewellery Art Gallery of the University of Stellenbosch 1978 Relocated from Johannesburg to Cape Town 1980 Tapestries at South African National Gallery Tapestry Exhibition, Cape Town 1981 First Cape Town one - man exhibition «Passage through an Alien Land», at Wolpe Gallery, Cape Town Taught painting, drawing, print - making and sculpture in Nyanga and District 6, Cape Town 1983 Exhibition «Judean WallsPainting in Encyclopaedia Britannica 1971 Represented South Africa at Sao Paulo Biennale, Brazil Invited to International exhibition Xilografia Contemporanea Bologna, Italy - Galeria Chalet Della Rose Exhibition of «Icons» at Totem - Meneghelli Gallery, Johannesburg 1972 Retrospective exhibition at Pretoria Art Museum Exhibition at William Humphrey's Art Gallery, Kimberley Exhibited at National Museum, Bloemfontein 1973 Created the Assassination of Shaka portfolio of 43 original three colour woodcuts with Stephen Gray's poetry 1974 Represented South Africa at the National Art Museum in Athens Exhibition at Royal Belgian, Congo Museum, Tervuren, Belgium Exhibition of The Assassination of Shaka at the Kunshistoriches Museum, Vienna Exhibition of paintings at the Goodman Gallery, Johannesburg 1976 Awarded Medal of Honour for painting by the Suid Afrikaanse Akademie vir Wetenskap en Kuns Presented with set of commemorative medallions - 1820 Settlers National Monument Foundation for contribution to art in South Africa Exhibition of wood panels and ten landscapes, a portfolio of original woodcuts with poetry by Stephen Gray at Goodman Gallery, 1977 Exhibition of panels, totems, woodcuts, drawings and jewellery Art Gallery of the University of Stellenbosch 1978 Relocated from Johannesburg to Cape Town 1980 Tapestries at South African National Gallery Tapestry Exhibition, Cape Town 1981 First Cape Town one - man exhibition «Passage through an Alien Land», at Wolpe Gallery, Cape Town Taught painting, drawing, print - making and sculpture in Nyanga and District 6, Cape Town 1983 Exhibition «Judean Wallspainting by the Suid Afrikaanse Akademie vir Wetenskap en Kuns Presented with set of commemorative medallions - 1820 Settlers National Monument Foundation for contribution to art in South Africa Exhibition of wood panels and ten landscapes, a portfolio of original woodcuts with poetry by Stephen Gray at Goodman Gallery, 1977 Exhibition of panels, totems, woodcuts, drawings and jewellery Art Gallery of the University of Stellenbosch 1978 Relocated from Johannesburg to Cape Town 1980 Tapestries at South African National Gallery Tapestry Exhibition, Cape Town 1981 First Cape Town one - man exhibition «Passage through an Alien Land», at Wolpe Gallery, Cape Town Taught painting, drawing, print - making and sculpture in Nyanga and District 6, Cape Town 1983 Exhibition «Judean Wallspainting, drawing, print - making and sculpture in Nyanga and District 6, Cape Town 1983 Exhibition «Judean Walls».

Abstract Expressionists These visual artists, divided loosely between exponents of «action - painting» and «colour field», sought to escape the outside world and focus on their relationship with the viewer.

The most recent paintings have a space - age look — 60s fonts float alongside Tomorrow's World digits in fields of fluctuating colour that get a certain depth from deepening hue or patches of twinkling black glitter.

The world's secon most expensive example of Colour Field Painting, after Orange, Red, Yellow (1961) also by Rothko.

, Francis Bacon: Figurabile, exhibition catalogue, Museo Correr, Venice 1993, p. 24 David Sylvester, «Bacon's Course», Modern Painters, vol.6, no. 2, summer 1993, pp. 15,16, reproduced p. 14 (colour) Michael Peppiatt, Francis Bacon: Anatomy of an Enigma, London 1996, pp.108 - 110 Fabrice Hergott, «La Chambre de Verre» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 56 David Sylvester, «Un Parcours» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, pp.14 - 16 Hervé Vanel, «L'imagination technique» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 67 Masterpieces of British Art from the Tate Gallery, exhibition catalogue, Metropolitan Museum, Tokyo 1998, pp. 152, 237, reproduced in colour p. 152 Reproduced: Harper's Bazarre, Jan. 1951, p. 52 (colour) John Rothenstein, A Brief History of the Tate Gallery, London 1958, p. 11 John Rothenstein, The Moderns and their World, London 1958, pl.91 (colour) Viewpoint, no. 1, 1962, p. 5 (colour) Ronald Alley, British Painting Since 1945, Tate Gallery, London 1966, p. 12, pl.2 (colour) Aldo Pellegrini, New Tendencies in Art, trans.