312 Sentences With "impasto" | Random Sentence Generator

Small touches of white impasto add a glisten to Hamilton's eyes.

PB: Do the impasto elements in the new work also function as content?

Watercolors, collages, impasto oil paintings, flat acrylic works, sculptural reliefs, multi-dimensional kinetic works.

My paintings evolved over a long period of time, and they had heavy impasto.

The van Gogh mania continues today — posters of impasto sunflowers still adorn college dorm rooms.

In two paintings from 801, the impasto brushwork evokes obstreperous actors before refined stage sets.

When I first started out I made colorful impasto paintings featuring alien figures with cartoonish expressions.

The impasto surfaces vary, with some built up a great deal and others not at all.

He also makes paintings with mysterious pictographic forms, bands of color, and dense layers of impasto paint.

The skin of Mullican's paintings is scarified, while Still's is impasto, somewhere between rock face and skin.

Combining work in oil paint with digital artistry, the film is unafraid to let brush strokes or impasto show.

If a tree is painted this way, it will communicate differently than if it were painted with gooey impasto.

She uses impasto paint handling as a signifier of earth, guts, and skin, rather than a signifier of prowess.

Evoking a sense of religious icons, Carr's portraits are intimate in size and created using a heavy impasto technique.

There is a tension between solidity and disintegration, between the boldly colored passages of impasto and the noticeably perforated field.

Paint handling is delicate, washy and transparent, laid alongside bold, opaque impasto passages fabricated from substances new to fine art.

By the early '90s, the impasto was gone, and Mr. Mueller was brilliantly synthesizing East and West, high and low.

In "The North Cape by Moonlight," the lines of rolling surf lit by the moon are thick white impasto strokes.

The painting contains different ways of presenting the landscape, from digital image to dispersed clouds of paint to optical veils to impasto.

Visiting Artist: Sedrick Huckaby Thursday, September 20, 6:30 pm Sedrick Huckaby is known for large-scale portraits rendered in thick impasto.

The abstracted, impasto painting depicts the open casket of African-American teenager Emmett Till, who was savagely beaten, disfigured, and lynched in 1955.

Todd Bienvenu paints both oil and acrylic in a faux-naïf style of broad approximate strokes, bright high-contrast colors and heavy impasto.

The grays and whites of the nearly abstract "Birds," which seems to depict gulls above a narrow band of waves, display a fairly juicy impasto.

The paint runs from dry to brushy, and from thin layers to impasto, especially around what we read as the viscera dangling from torso's neck.

Medium and Technique Figurative Painting: 230; Abstract versus Figurative Art: 220; Oil Painting: 103; Large Brushstrokes & Loose Brushwork: 210; Passage: 224; Impasto: 224; Gestural: 50.

She is known for self-portraits, shown overweight and naked, alone in the studio, holding brushes, or jamming globs of impasto paint into her mouth.

The work on view is bright and warm, with a handmade touch and an indisputable concentration on texture through sculpture, impasto painting, and layered mixed media.

The paint has depth and texture, and artists will often use thick exaggerated layers, in a technique called impasto, to add another dimension to their pieces.

Only from this angle can I see van Gogh's impasto; never had I seen the thick, canary-yellow lines in the hollow of the crescent moon.

Her use of impasto and tilted planes (rugs, landscapes) insistently endow the objects she paints with an equivalent heft and tactility to their real-life counterparts.

The 12 hazard-orange works (one, "Fereshteh", is pictured) have been layered thick with paint using the same impasto technique that Frank Auerbach and Francis Bacon deployed.

I played with the idea of the thick impasto brush stroke, so it's sort of like a joke about that as well as an homage to that.

Mr. Cloud scribbles the addresses of informational websites along the frames and adds thick impasto brush strokes as well as his signature, inserted on a piece of cardboard.

Its pistachio-pumpkin crust was less a dusting than an impasto of nuts and, more subtly, sweet pumpkin pulp, making for a surprisingly harmonious complement to the dish.

Mr. Clark sometimes stains but mostly he wields wide brushes and even brooms, magnifying impasto and brushwork in piled-up strokes that seem to squirm on the surface.

An ellipse surrounded by a whirl of concentric green and brown impasto shows a vertical road stopping short at the horizon; above the ellipse, it continues on unchecked.

In some instances, the artist emphasizes the unique linear quality of vectors, leaving the intricate lines of the process clearly visible, like an impasto painter's emphasis on the brushstroke.

"A bird seems to have passed through the impasto with cream-colored screams and bitter claw-marks," is how the poet and critic Frank O'Hara described the early works.

This crisply delineated, angular mayhem is counterbalanced by a calm, seamless blue sky and ocean — a blue so pervasive it swallows up a sun that is filled by blue impasto.

The driving force behind Peder Balke's painting is his desire to harness paint's capacious materiality, from impasto to liquidity, to evoke the changing, often tumultuous physicality of his subject matter.

At times, he seems to be on the verge of an artistic breakthrough: "Without thinking I was using a flooring chisel and chipping away the impasto," he writes in March 22016.

Stacked at the bottom of the closet are paint tube boxes, and atop of them are what appear to be crumpled-up cotton paint rags rendered in masses of impasto paint.

Painted in Paris in 1959, and notable for its thick impasto with vivid passages of red, this was on consignment from a private collection at an asking price of $14 million.

"Crash in Phthalo Green" (1984) is one such work that renders in thick impasto and energetic angles a dramatic car accident as a sublime phenomenon against a Los Angeles sunset and mountainscape.

The unicorn, with its halo-encircled horn, rears up its hind legs as if battling evil forces, surrounded by impasto patterns and circles, decorative landscape elements, and full-to-bursting, overdone blooms.

A silver oval shaped like a crown at the top of the triptych connotes heaven, while the darker black impasto slabs at the bottom of the painting are meant to denote hell.

The same principle is put to work with similar effect on artists characterized by their preference for impasto technique, where paint is laid so thickly as to become semi-sculptural, almost high-relief.

"These images of pastries, cakes, and other foodstuffs, rendered in his signature painterly style, with radiant color and delicious impasto, are condensed explorations of the language of painting," Curator Susan May tells Creators.

Although there are no recognizable features, a deep trough carved into the heavy impasto conveys a sense of savage disfigurement, which is heightened by the whiteness of the boy's smoothly ironed dress shirt.

Characterized by colorful, geometric, and zigzagging lines that fill the canvas, Cruz's random application of thick squiggles of oil paint, from pastry cones over impasto swabs, assaults the viewer with energy and vigor.

While in Paris, Clark saw the work of Nicolas de Stael, Pierre Soulages, and Jean Riopelle — artists who used a variety of instruments to apply patches and strokes of impasto paint to the canvas.

Throughout history, artists have aimed to infuse 2D images with dimensionality, but only since the 18th century has impasto, the technique of heavily applying paint so it extends from the canvas, become widely practiced.

Eleven months later, after the disastrous cohabitation with Gauguin that led to his self-mutilation and prolonged incarceration in asylums, van Gogh used heavy impasto and more agitated brushstrokes in the second and third versions.

The rest of the surface, which includes a two-tone cruciform, is covered mostly with variously colored scribbled lines, in contrast to the all-impasto "Remnant of Spirit," mentioned above, whose composition is almost identical.

This double critique can be seen in the twin portraits of Billy Lee and Ona Judge, where each is painted in a classical style but skin and hair are rendered in a lumpy impasto of tar.

On a Mike WiLL Made-It track, different drum sounds are combined with other percussion effects, making a dense sonic impasto that stutters and shimmies through the song, until all the elements coalesce for the climax.

Upon entering this formidable space, my first observation was that the paint on many of the unfinished surfaces was thinner than I expected, much different than the impasto surfaces on the Rothko paintings I had seen elsewhere.

He can go thick and visceral, invoking Marsden Hartley, laying the paint on in glistening impasto, as in "Starlight West Village" (2017), in which the color sings with the kind of innocent bravado of an outsider artist.

After posting one of her paintings online — an image of the Eiffel Tower in the thick, impasto style of a Van Gogh — an education blog soon posted it on its site and mistakenly attributed it to him.

She will carefully remove the varnish and, with the help of a microscope, use a tiny ophthalmic scalpel to lift grime and varnish from the impasto, where the sculpted layers of paint have trapped grime over time.

Whether the lines were zigzagged, scribbled or ruled, or the acres of impasto were plopped, smeared or stroked, his compositions conveyed a willful arbitrariness — randomly determined exercises in which one gesture seemed just as good as another.

They were very largees [sic] pretentious and brutal expanses of thick, impasto pigment mostly sll-black [sic] or sullen sgray [sic], broken into here and there along the edges with one or two small streaks of color.

By juxtaposing the artist's impasto masterpieces with items from his personal collection of Japanese art, the book's authors, Chris Uhlenbeck, Louis van Tilborgh, and Shigeru Oikawa, illustrate the clear influence of the East Asian aesthetic on van Gogh.

We find palette paintings of boxers lounging in poses that indicate great power held in reserve; impressionistic images of Maine's rough coastal landscape; thick impasto paintings of iconic Jewish figures and themes; and precisely rendered images of Chicago architecture.

Swearingen's rendering methods feel as instinctive as they are clever; here, the artist used daubs of white paint and patches of impasto to suggest fluffy balls of cotton in a panorama of farm workers processing a freshly picked crop.

A half-smile plays mildly on the woman's lips, and her face is ringed with intricate detail, like her frizzy curls, scratched into the paint, and the delicate lace of her collar, molded with calligraphic strokes over thick impasto.

Hutchinson, who is thirty-three and teaches at Cornell, might be called a post-post-colonial writer: his art, suspicious of top-down institutions—including academia—finds in the impasto treatment of sensory minutiae a protest against abstract authority.

I began with the studio of Jeffrey Morabito at Art Cake, which was filled to the literal brim with contemporary iconography — bagels, tennis balls, airplane windows, chain link fencing — and impasto paintings that reveal the inherent menace in everyday objects.

Yet Boxer's feverish impasto maps a lengthwise network of visual pathways through the paintings' color fields, in the form of hatches, creases, ridges, and crinkles, including a long, unifying central seam that encapsulates all of the painting's coloration and brushstrokes.

At the top of "Like a Leaf," two rectangles overlap — one in two dimensions and the other in three — while the reticulated red rhomboids that decorate "Making It Up," get smaller and smaller until they finally burst into a ridgy impasto.

Using impasto brushwork to exacerbate the pacification of language that occurs when its critical capacity is limited to commentary and description, Jablon paints language that is no longer reduced to something to be read or seen — it becomes a kind of experiential playground.

They also use subtle color, central placement, and rough hand gestures that moved around thick, earthy impasto, sometimes streaked with a red line down the middle that might suggest a ragged profile, as in "Tête d'Otage n° 20" (Hostage Head #20, 1944).

Most of these artists had some European or American training, and alongside unusual sandy palettes and a few unexpected details, you'll see plenty of approaches that look familiar: lucid colors à la Josef Albers, crimson bursts of impasto similar to early Abstract Expressionism.

One could say his impasto black-and-white paintings occupy the opposite end of the spectrum from Ad Reinhardt's black paintings, but the two are deeply connected: Pousette-Dart and Reinhardt embody two radically different views of the boundless and infinity, one optimistic and the other pessimistic.

"The Realm of Appearances," in which a red meadow rides up to a high horizon line and impasto moon, is a densely set typology of brush strokes: Thick navy wiggles collide with a rain of overlapping oil-green drops and a school of pert yellow dabs.

In this portrait, the Obamas are invisible, represented only by the house they'd just left, while the actress Cicely Tyson and her lover Miles Davis have been transported from a long-ago black-and-white society photograph onto the green impasto glory of the White House front lawn. Transported?

Based on his gestural spontaneous application of thick impasto paint, Riopelle was establishing himself, along with Jean Fautrier, as one of the main figures of Art Informel, the pictorial movement in France (and much of Europe) that paralleled American Abstract Expressionism and included the gestural tendencies of AbEx.

The impasto surface, with its gentle, throbbing monochromes, evoke the pulsations of the body — the heartbeat, blood cells, and veins — while the undulating, rusted sheet of metal, resembling a rib cage and spinal cord, is marked with delicate streaks of red, redolent of both blood and an electrical charge.

As evidenced by the paintings in her current retrospective at the Whitney, she keeps a toolshed of effects and objects — drop shadows, large modernist grids, drips, bicycle wheels, squiggles, text, impasto that rivals cake frosting, and even wallpaper – that appear predetermined to keep every possible idea of "mark-making" alive.

By treating every small natural force as its own separate problem — registering the drape of his sitter's pants with long, taut brush strokes, or the reflection from a cheekbone with a spot of pink impasto — he transforms an ordinary portrait into a phenomenal snapshot of the room as a whole.

But this Berry Campbell show is a critical milestone because it spotlights the final climactic chapters of a career wherein the painter, who died in 2000, retooled the vocabulary of Color Field painting by studding the canvas with relief effects, which he coordinates with an iridescent palette and apparently endless variations on impasto.

A widely used petroleum-based product reeking with pungent off-gassing until it has completely dried, 180 gallons of the stuff was poured and pulled across the six slabs, yielding a surface unexpectedly rich in detail, tracing movement like an impasto and revealing an organic process of oxidation that continues to change.

The white and colored sections of her works are characterized by an impasto-like surface which modulates and reflects light, an effect produced by Corse's use of glass microspheres — minuscule glass beads that are often used to make the white lines on highways luminescent — which she scatters over the surface of her canvases.

Tellingly, one can never actually even see all of the painting at one time, since the frontal view actually obscures the effects of its heavy impasto (rendered undetectable in photographic reproductions), which at points reaches several inches in depth, curving over colors underneath, and on close inspection reveals a high-gloss finish on its underside.

His "Taxi Cab" series, riots of impasto geometry, were an unequivocal "feh" to the fashionable ideas of the New York School and the first inkling of what would become his signature hard-lined, "concrete" style — something that caught favor with people like Frank Stella and Ellsworth Kelly, and which Held eventually developed into rigorous, near-trigonometric excursions into space and perspective.

As much as Balke is connected to these artists and their paintings of Romantic landscapes, the driving force behind his work is his desire to harness paint's capacious materiality, from impasto to liquidity, to evoke the changing, often tumultuous physicality of his subject matter: the roiling ocean, turbulent clouds, obdurate rock, and luminous moonlight, and such distinct phenomena as the Aurora Borealis.

Sometimes he lost control of the mounds of impasto — as he did in "Ria, Naked Portrait" (2006-07), the most recent work in the show, in which the subject's face disintegrates into leprous scabs of white, pink, and beige — but more often the paint becomes the form it is describing, sharply contoured into the surrounding field while pushing off the canvas into real space.

In her large, multi-media works, vivid spray-painted, translucent atmospheres are contrasted with opaque, hand-painted geometric areas reminiscent of pointillism or pixelation, a juxtaposition that creates significant spatial depth Recent works such as "Gray Matter" (2017) inhabit an intersection between the theatrical baroque and the graphic specificity of stained glass, which is accentuated a dynamic sense of movement, swirling spirals, upward diagonals, and heavy impasto.

Claims for a broad inclusion into "Chinese art" are subverted by similarities to Western painters; any homage to a Western style is undercut by allegorical readings and historical context; a formalist approach is undercut by Western and Chinese precedents; any declaration that "what you see is what you see," to quote Frank Stella, is undermined by the human eye, which can't, of course, see the sculptural impasto of these works simultaneously from different angles.

"The End of Relevance," which, like the two all-impasto works, was done in 2015 (it would be intriguing to learn where the completion of the three paintings fell chronologically), is the most optically dazzling work in the show: composed of wobbly black lines over a pale blue field, with a mass of black scribbles dominating the right half and two black-outlined blobs of yellow paint in the lower left quadrant, the visual buzz set off by the close proximity of the lines messes with your eyes and brain.

I would be the last to deny Hopper's importance, but even in the smallest and most slapdash of these oil sketches, Dickinson seems to me a greater and more elevated painter […] Loved by painters but largely ignored by museums and the art world, Dickinson's work can be divided into five basic groups: premier coup paintings of the landscape that were done on site in a single sitting; imaginary scenes that he set up and often labored on for years; historical images based on personal interests (such as Polar explorations and the Civil War); self-portraits; and a series of impasto paintings, dating from 1914-913.

Oil paint is the traditional medium for impasto painting, due to its thick consistency and slow drying time. Acrylic paint can also be used for impasto by adding heavy body acrylic gels. Impasto is generally not seen done in watercolor or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper.

On the top of the tree he uses rougher, more impasto brushstrokes to represent the colorful blossoms. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the canvas.

The word impasto is Italian in origin; in which it means "dough" or "mixture"; the verb "impastare" translates to "to knead", or "to paste". Italian usage of "impasto" includes both a painting and a potting technique. According to Webster's New World College Dictionary, the root noun of impasto is pasta, whose primary meaning in Italian is paste.

Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become nearly three-dimensional. Impasto gives texture to the painting, meaning it can be opposed to more flat, smooth, or blended painting styles.

Still Life: Vase with Pink Roses is an oil painting on canvas completed by Vincent van Gogh in 1890, which makes extensive use of the impasto technique. Impasto is a technique used in painting, where paint is laid on an area of the surface in very thick layers,Impasto. In: usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas.

When dry, impasto provides texture; the paint appears to be coming out of the canvas.

In his later years his work moved into pure abstract symbolism. Spark used pastels on paper and impasto.

The Van Gogh Museum's version of Orchard in Blossom was painted in April. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the painting.

The thick impasto of his early work gave way to a mere skim of paint, perhaps reflecting a wartime scarcity of materials.

Phong creates artwork in her own home with acrylic paints and found objects that she finds at relatives houses and her own. Her artwork has sold up to $1,000. Her technique includes utilizing juxtaposition with heavy impasto layers translating to finer, more transparent layers of paint. Though the subject of her artwork has fluctuated throughout the years, Phong has consistently produced artworks with heavy acrylic impasto texture.

Firstly, the vessel is a work in the impasto style which was typical of the Villanova culture. As was the norm, very fine-grained clay was used and it was turned on a potter's wheel, not just moulded by hand. The surface was polished in the manner of prehistoric art. The shape is known among scholars as bucchero impasto and prefigures later Bucchero pottery.

Redfield began painting spring scenes in the late teens. Most of these employ Redfield's use of thick impasto, painted in a style similar to his snow scenes. The influence of Vincent Van Gogh's spring scenes which Van Gogh painted in Arles (from February 1888 to May 1889), is fairly evident, as Van Gogh also used a fairly thick impasto- but never as thick as Redfield's.

The impasto technique serves several purposes. First, it makes the light reflect in a particular way, giving the artist additional control over the play of light in the painting. Second, it can add expressiveness to the painting, with the viewer being able to notice the strength and speed by which the artist applied the paint. Third, impasto can push a piece from a painting to a three-dimensional sculptural rendering.

Worley, Virginia. Painting With Impasto: Metaphors, Mirrors, and Reflective Regression in Montagne's 'Of the Education of Children.' Educational Theory, June 2012, Vol. 62 Issue 3, p. 343–70.

The first was a commission to paint Sunforce a large mural executed on a campus building. Sunforce represents a critical turning point in her technique. In the context of California with its Light and Space Group, her impasto work may have seemed to make no sense. Also, due to the massive scale of the mural, her current impasto technique was impractical and she was forced to adapt to the flat plane of the mural surface.

His work during this period represents a culmination of influences, such as Impressionism, Neo-Impressionism and Japanese art (see Japonism). His style evolved into one with vivid colors and energetic, impasto brush strokes.

Painterly art often makes use of the many visual effects produced by paint on canvas, such as chromatic progression, warm and cool tones, complementary and contrasting colors, broken tones, broad brushstrokes, sketchiness, and impasto.

Harry Fidler (1856–1935) was a British painter known for including farm animals and especially horses in his impressionistic paintings, typically using heavy impasto. He married Laura Clunas (d. 1936), who was an artist with a similar style.

Oulton's work is abstract. Her early work often resembles rocky landscapes. Her later works are often executed in a thick impasto. A number of Oulton's later works use multiple repeated images, often with slight variations between the repetitions.

Nicolas de Staël (; January 5, 1914 – March 16, 1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles.

These paintings and drawings usually featured unconventional compositions and colors. The oil paintings, much like his figuration paintings, are characterized by thick layers of impasto paint, something that gives the paintings a striking and powerful impact on the viewer.

Holland cites painters Bernard Buffet and Georges Rouault as influences, and works in a primitive impasto style similar to that of fellow Stuckist, Billy Childish. In addition to painting, Holland also works in photography, sculpture, graffiti and mixed media.

Oinochoe from the Metropolitan Museum of Art (inv. 91.1.454) The first appearance of a ceramic type that can clearly be classified as bucchero occurred around 675 BCE at the coastal community of Caere (the modern-day Cerveteri), with somewhat later centers of production to be found at Veii and Tarquinia, both cities, like Caere, located in the southern part of the Etruscan heartland. Bucchero ware would seem to have been the natural sequel to the impasto pottery associated with the earlier Villanovan culture from which the Etruscan civilization, itself, had evolved. Etruscan pottery is distinguished from Villanovan impasto by the more sophisticated processing of the clays used which were finely levigated to remove the traces of grit common in the earlier pottery, by its being uniformly turned on a potter's wheel, by its carbonized black fabric in contrast to the brown or tan color found in impasto pottery.

She creates both impasto and photo-realist paintings and has undertaken a number of private commissions throughout the years. Her main focus is on figure painting and portraiture, but she has also been commissioned to paint creatures including celebrated racehorses.

Working largely on board, her oil paintings used a broad impasto with vivid colours. The earlier work is mainly figurative, but her later works were more impressionistic and dramatic. They were generally signed "Yvonne Drewry" and the year in oil paint.

He did very few portraits and very few still life. Almost all of his work is in oil. In some of his oil works, he used the impasto technique where the paint rises off the surface of the painting in thick daubs.

The Grotta del Pisco is a cave on the southwestern side of the island of Capri, Italy. Impasto ware fragments found at the Anacapri site are from the Copper Age. Gaudo culture artifacts were identified here and at the Grotta delle Felci.

"Impasto-Twelve"an exhibition of eminent artists Yusuf Arakkal, Akkitham Narayanan etc. at Chithram Gallery 1996 "Inside of Outside" Inaugural Exhibition Synagogue Art Gallery Mattancherry 1998."41st National Exhibition by "Lalithkala Academy New Delhi 1999. National Exhibition by KCP at Kerala House New Delhi 2000.

In other areas such as that of undergrowth to the fore, shorter strokes have been criss-crossed, creating an effect not unlike that of a woven fabric. In addition to this labour-intensive technique of layer-building, Pissarro used the more traditional method of applying paint with impasto to consolidate the picture's texture. The technique of painting kaleidoscopically criss-crossing areas has the effect of attracting the eye and drawing it into the pattern, but the price of achieving this is the apparent submerging of details—such as those of the two people ambling down the hill—beneath impasto and contending colours.Pissarro, Christopher Lloyd, Phaidon Press Ltd.

His portraits and still-lifes of the decade reveal a firm linear outline, with a near-impasto use of thick color. One critic of the first Segantini-Bund exhibition described his works admiringly as depicting "architectonic fantasies"."Ausstellung des Künstlerbundes ‘Segantini’," Illustriertes Wiener Extrablatt, vol. 50, nr.

She was greatly influenced by the impressionists, particularly William Merritt Chase and Frank DuMond. Woodward preferred colorful canvases and used bold, unlabored brushstrokes heavy with impasto. Her earlier work includes a series of "old-fashioned girls in gardens." These were portraits of women and girls, set in outdoor gardens.

Ebnother has been living and working in Stanley, New Mexico since 2000. He mixes and grinds his own pigments. His oils, in hand-ground dry pigment on stretched linen and wood panels, are characterized by rich impasto, dense pigmentation, and dense markings. Ebnother trained as a ballet dancer.

In late 2010 Jimmy Baker began using a digital printing process that utilizes UV cured ink, which is sprayed overtop of the oil painted surface on his paintings. The large format commercial printer is able to print on large canvases, and print over impasto paint. File:Studded Lehenga.jpg File:Fixator.

Ducks, oil on canvas, Rijksmuseum Amsterdam. Around 1880, he began to use broader strokes, combining this with impasto. Yet these works have an intimate atmosphere. His lively use of color distinguished Maris from the 'gray mood' of his contemporaries, and he was often called the 'impressionist' of the Hague School.

Ba Nyan (, ; 1897 – 12 October 1945) was a Burmese painter who has been called the greatest name in modern painting in Myanmar. His oil paintings were quiet and academic in their style, but display occasional flashes of virtuosity and brilliance in bold, impasto brushstroke and skillful handling of the medium.

Rizvan Rahman (born 1970) is a Pakistani-born British Painter. Known for his impasto oil portrait and figure paintings, Rahman launched his first solo show in Mayfair, London, in February 2016, to favorable accolade and press, including The Times and The Independent. Rahman’s work has been compared to Lucian Freud.

Kagan, p. 26 Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, watercolor with pen and India ink, and oil with tempera.Partsch, pp. 58–60 He was a natural draftsman, and through long experimentation developed a mastery of color and tonality.

Winsor & Newton suggests the use of Liquin as a fat or flexible agent, to increase the flexibility subsequent layers.Winsor & Newton:Understanding The 3 Oil Painting Rules While Liquin Original, and Liquin Light Gel Medium are mixtures of petroleum distillates, Liquin Oleopasto, and Liquin Impasto are mixtures of alkyd resin and petroleum distillates.

250px Sivkov’s art is nurtured by the heavy, garish sumptuousness of his palette. His colours and application of, are powerfully expressive. The eloquence of his colours come to delineate the non-perspectival pictorial space. Combined with the impasto texture of his work, Sivkov's palette effectively creates a technically sensorial opus.

Sivkov's paintings are characterized by a kaleidoscopic complexity of colour, the layered impasto of his palette, and an applied etching technique that reinforces a sense of flatness in his composition. Sivkov’s style is enormously individualistic and is evasive of classification. His art holds a tense equilibrium between unrelinquished expression and compositional exactitude.

At some stage a landscape in the background showed a mounted rider. The central figure in white at one point had large horns, or possibly bird wings, seemingly growing out of his head.Junquera, 78 From studying the x-rays art historian Carmen Garrido discovered that the center of the image contained a large white lead impasto beginning at the head of the man looking upwards, and that "both the part on top of the impasto and that which is level with the rest of the painting are identical, and have neither the texture nor the normal structure of the authentic brushstrokes of the painter." Thematically and stylistically it shares characteristics with another work from the Black Paintings series, Women Laughing.

David Tress (born 11 April 1955) is a British artist noted particularly for his deeply personal interpretations of landscapes in and around his home in Pembrokeshire, southwest Wales. He combines the techniques of collage and impasto with conventional painting and drawing to produce results that have been categorized as a form of abstract expressionism.

Pinchon's paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues, a thick impasto and larger brushstrokes.François Lespinasse, Robert Antoine Pinchon: 1886-1943, 1990, repr. Rouen: Association Les Amis de l'École de Rouen, 2007, At the same exhibition Paul Cézanne was represented by ten works.

In 1949, Myit later produced a masterful portrait in oil of the famous early traditional painter, royal artist Saya Chone, done with a heavy impasto technique and complete mastery of Western painting. This painting possessed, ironically, no Traditional affects. As Chone had died in 1917, the image of Chone was taken from a photograph.

In many works, blotches of color are applied in mosaic-like patterns worked into the chiaroscuro."Editors, "Artist of the Month: Margaret Webb Dreyer," Houston Scene, Vol. 4, No. 1, March 1976. Candice Hughes wrote, "She did figurative abstractions bursting with life and used the techniques of impasto and glazing with a skillful hand.

Alberti often uses impasto style of blending paints and intricate texture of canvas. This is especially true of his later still lifes with fruits and flowers. Alberti attached great importance to the painting from the life. While working on the genre composition, he painted numerous nature studies, many of which have independent artistic value.

Rostislav is a landscape artist. He is particularly interested in en plein air painting and much of his artwork depicts the Sussex countryside or is inspired by his travels in Russia and elsewhere. He works primarily with oil and creates sculptural, three-dimensional paintings primarily in impasto. His most significant early work uses pastels.

Literally, it means "effects of evening" in French. This was part of a group of techniques used by Impressionists such as impasto, en plein air, color theory, and thick strokes of oil paint on canvas. In 2008, the Museum of Modern Art curated a major exhibit of van Gogh's work of effets de soir.MoMA press release .

DeMartis’ late style between the 1980s and 1990s has been characterized as “a blend of romantic realism and abstract expressionism. Landscapes, figures, still lifes and abstract works dominate his subject matter. The paint is applied in a lush impasto and lyric flowing line.”“New York Artist exhibits at W&J;,” in The Observer-Reporter, Washington, PA, December 1, 1996.

"Susan Sensemann," New Art Examiner, June 1992, p. 50–1. Painted in reds, cranberries, tangerines and aquas, works such as Eguchi (1983) employed geometric organizations of architectural planes, light and shadow that created ambiguous space, yet anchored complex, scoured impasto surfaces described as "painstakingly textured, almost sculptural relief."McCracken, David. "Gallery Scene," Chicago Tribune, June 12, 1992, p. 75.

But this generalization is breached, for example, in the carefully composed Bulkhead Brace, 1913, 12 × 16 inches, which, despite both an early date and small size (most often associated, as in that work, with heavy impasto applied with a palette knife), appears fully resolved. An exception on the other end of the size range is Toward Mrs. Driscoll's, 1928, 50 × 40 inches, which is a premier coup. The impastoed paintings of 1913–1914, such as House, Mozart Avenue, 1913, and Self-Portrait, 1914, with occasional notes of fully saturated hues, are indebted to Hawthorne's teaching, but impasto, bright notes of color, and the sense of urgency in execution is still evident in paintings such as View from 46 Pearl Street, 1923, and Back of Harry Campbell's Studio, 1924.

Self-portrait, 1771, pastel, Musée du Louvre, Paris Jean-Baptiste-Siméon Chardin (; November 2, 1699 – December 6, 1779) was an 18th-century French painter. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work.

By those who saw the last painting, it was considered one of Ba Nyan's most powerful works. Presumably, it is still in the Collection of the Japanese Imperial Household. Another masterpiece by Ba Nyan is his oil painting U Ba O (1933) of his father, done with heavy use of chiaroscuro and impasto techniques, on permanent display in the National Museum of Myanmar.

The book invites deeper reading, rather than > demanding it. ... Phipps book has the tried and true stuff of fine > poetry—remarkable images, striking metaphors, big themes—without being > stuffy. It covers the full range of the human drama—its glory, its misery, > its humor and its pathos. > ... Marilene Phipps focuses on voodoo themes but she paints incongruously in > heavy dabs of oily impasto.

Hudson makes paintings, sculpture, etchings and performance based work. For the past seven years, his medium of choice has been Plasticine. In The Telegraph newspaper Hudson explains “I did performance as a student, but when I left I was broke and looking to make things I could sell. I’ve always loved the impasto painters: Leon Kossoff, Frank Auerbach, anyone a bit gloopy.

This is an oil on canvas painting that measures 180 by 180 centimeters. It shows signs of an impasto painting technique that was common of Klimt's work. His painting methods included mixing drying solvents into the paint to make sure there was no unwanted glossy appearance. He also would retouch works, which limited how many paintings he was able to create per year.

Litten's dynamic and gestural figurative paintings express interest in a wide range of humanistic themes such as love, sensuality, fear, anger, loss, addiction and personal growth. His large scale gestural and impasto paintings are raw and emotive with introspective tensions that expose the visceral identity of the human subconscious. In 2018 Litten's solo exhibition was developed with support by Arts Council England.

Earlier the artist was painting landscapes in an organic- abstract style, using a mixed Impasto technique. He combined earth, sand and stones with acrylic paint to develop a relief-like texture. The artist like to work with acrylic combined with pencil. He also sometimes works with mixed media, using gouache when the ballerinas dance on his canvas to make prints with their feet.

Waisler has also used ash and stone in his Holocaust memorials. The materials serve both symbolic and formal purposes. Waisler often layers multiple materials with paint to create high-impasto surfaces on his works, adding to other formal properties. Additionally, Waisler uses light-reflective materials and paints to explore the symbolism of light with the belief that life is transferred by light.

Baquiran's painting style has been described as a cross between some facets of her favorite European artists Claude Monet's and Rembrandt's styles. Her flowers and objects are rendered with vibrant pigments led by her unique blend of warms and cools. Baquiran, unlike other Filipino artists using the impasto impressionistic technique, works mostly with acrylic paints to produce her pieces.Fatima Baquiran.

Bosch's paintings with their rough surfaces, so called impasto painting, differed from the tradition of the great Netherlandish painters of the end of the 15th, and beginning of the 16th centuries, who wished to hide the work done and so suggest their paintings as more nearly divine creations.'Bosch and the Delights of Hell' The Owl's Nest. Pen and bistre on paper. 140 × 196 mm.

I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added. ::When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc.

Artist Biography Raza at osbornesamuel.com. Raza was initially enamored of the bucolic countryside of rural France. Eglise is part of a series which captures the rolling terrain and quaint village architecture of this region. Showing a tumultuous church engulfed by an inky blue night sky, Raza uses gestural brushstrokes and a heavily impasto-ed application of paint, stylistic devices which hint at his later 1970s abstractions.

James Pringle Cook (born 1947) is an American painter based in Tucson, Arizona, known nationally for expressive, monumental landscapes and urban scenes that employ vigorous brushwork and thick, impasto surfaces and move between realism and passages of abstraction.Yassin, Robert A. "James Cook: A Traditionalist Redefined," James Cook: New Paintings, Tucson, AZ: Tucson Museum of Art, 1992.Regan, Margaret. "The Power of Pure Painting," Tucson Weekly, November 1992.

He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. His mature works show a brightened palette with a striking impasto technique on canvas and a bold command of pastels on paper. In 1881, Mancini suffered a disabling mental illness. He settled in Rome in 1883 for twenty years, then moved to Frascati where he lived until 1918.

Landscape Adolf Eduard Herstein (1869–1932) was a painter and engraver. Born in Warsaw, he worked and taught in France, Germany (where he was active in the Berlin Secession movement) and his native Poland. His oil painting relied on the use of heavy impasto and was in style closely related to Impressionism. In Munich in 1894 he embarked upon an affair with Franziska, Gräfin (i.e.

He was born in Vercelli, in the Piedmont. Initially studying at the Istituto di Belle Arti in Vercelli, in 1889, he moved to Mila, where he studied under Vespasiano Bignami and Cesare Tallone at the Brera Academy. In 1920, he replaced Tallone as professor of figure at the Academy. His portraits recall the impasto effects of Tranquillo Cremona, Giovanni Boldini, Mosè Bianchi, and Eugène Carrière.

Verbruggen was a specialist still life painter. He practised many of the sub-genres of still life such as fruit still lifes, flower pieces and garland paintings. In its use of broad, impasto brush strokes, the style of his work reflects developments initiated by Italian artists Mario Nuzzi and Michele Pace del Campidoglio. The work of the French painter Jean-Baptiste Monnoyer was also an influence.

This shows an important influence of Japonism and wood block print on Van Gogh's work, which also appear in the background of other portraits he had created. The painting is composed of impasto strokes, mostly in a vertical pattern. This creates a texture, which comes up off the canvas and adds dimension to the flat surface. The skin tone is muted with green and yellowish tones.

These and other works were painted in heavy impasto and narrow tonal range. Sickert's best-known work, Ennui (c. 1913), reveals his interest in Victorian narrative genres. The composition, which exists in at least five painted versions and was also made into an etching, depicts a couple in a dingy interior gazing abstractedly into empty space, as though they can no longer communicate with each other.

The upper half is largely void of detail, while the lower portion, particularly the lower third has been heavily reworked, and consists of a blending of white, gray and black pigments. The use of heavy impasto"Head I". Metropolitan Museum of Art. Retrieved 7 February 2014. gives the impression of animal skin; critic Robert Melville described the "color of wet, black snakes lightly powdered with dust".

His most recent works present iconic close-ups of owls rendered in a dense impasto buildup of black and white oil paint. In August 2012, Newsom was ranked 47th among the Top 100 contemporary artists by Flash Art Magazine.Flash Art Magazine, Issue #285 , (retrieved September 14, 2012) His work is represented by MARC STRAUS in New York, and Patrick Painter Inc. in Los Angeles.

Following his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year- old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto.

Ngwe Gaing was a prolific and versatile painter who worked in both oil and watercolour (both transparent and gouache), and he also did pencil drawings. His subjects comprised a wide range—historical paintings, landscapes, portraits, and still life. His oil paintings were meticulous in their attention to detail. They typically used heavily but carefully applied brush strokes, in the impasto style, and an array of complex colour designs.

Walter Gilbey, George Morland: His Life and Works (London: Adam and Charles Black, 1907), 92. After selling his business, Brown studied with Morland and became one of his many imitators.Ellis Waterhouse, British 18th Century Painters in Oils and Crayons (Woodbridge, Suffolk: Antique Collector’s Club, 1981), 62. Although his paintings featured a more gestural brushstroke and a heavier use of impasto, his works often passed for those of his master.

In addition to paint, she has employed Mylar sheets, metallics, glitter and rhinestones. She has command of a wide range of styles, from traditional landscape techniques to Chinese brush painting to patterning borrowed from graphic design, which makes “for multi-layered, exuberant work.” The graphic layers act as a ground for her organic, sensual figures. She employs every use of paint handling from delicate transparent washes to thick impasto.

In the 1970s Olitski returned to the thick impasto surfaces which characterized his work in the 50s but with innovative techniques that took advantage of the newly improved polymer and gel acrylic mediums. In 1994 he was elected into the National Academy of Design.National Academicians Past Academicians - National Academy of Design His late works from 2001 through January 2007 are characterized by intensely colored orbs that can evoke landscape or skyscape.

Kelly's work in Philadelphia was heavily geometric, reflecting the influence of the paintings by Mondrian which he saw at the Barnes Foundation. In California he began working in the gestural, swirling style of Abstract Expressionism that was prevalent in San Francisco, and especially at the California School, at that time. He is sometimes referred to as an "action painter". His paintings, done in oil, were characterized by a heavy impasto.

Contrasting colors, such as blue and yellow, were used to bring a vibrancy to the works. He painted with an impasto, or thickly applied paint, using color to depict the reflection of light. The subject matter, a drawbridge on a canal, reminded him of his homeland in the Netherlands. He asked his brother Theo to frame and send one of the paintings to an art dealer in the Netherlands.

In the spring 1903 he spent time in Opatija, creating landscapes of Primorje and the Bay of Kvarner characterized by thick impasto brush strokes. Some landscapes of the island of Lošinj were painted in using a pointillist technique. In the summer he was painting the mountainous region of Gorski Kotar. By 1905, Crnčić was travelling to places around Europe in the company of other artists, studying and painting.

Alfred Julio Jensen was an abstract painter. His paintings are often characterized by grids of brightly colored triangles, circles or squares, painted in thick impasto. Conveying a complex web of ideas, often incorporating calligraphy or numerical systems, they are frequently referred to as "concrete" abstract art. After his death in 1981, the Guggenheim organized a major retrospective of his work, having held his solo exhibition there in 1961.

Philipson was well known for his bold use of colour and his liberal use of heavy impasto in his works. He was appointed as President of the Royal Scottish Academy in 1973, a position he held until 1983. Philipson received four honorary doctorates: DUniv (from both Stirling and Heriot Watt); LLD (from Aberdeen}; and Dlitt (from Glasgow). In 1977 he was elected a Fellow of the Royal Society of Edinburgh.

Cohoon became a member of the Hancock Shaker Village and made "gift drawings" that recounted spiritual visitations received during the Era of Manifestations encountered by Shakers in the mid 19th century. Uncommonly for Shaker gift drawings, she signed her drawings, so that the works have been attributed to her. Cohoon had a unique style that was more abstract, simple and personal. She used impasto techniques to create texture within the drawings.

Barkdull was also a modernist painter. According to Utah Art, Utah Artists: 150 Year Survey, "His formal structure, fauvist colors, and thick impasto imbue his painting with textual richness. His distorted forms and lack of perspective put his oil works squarely with the modernists." Barkdull was a member of The Church of Jesus Christ of Latter-day Saints, and he married Evelyn Woodbury in the St. George Utah Temple in 1919.

From the sky falls a warm light that suggests the valleys around the River Jordan. The wonderful result is a secure capture of the atmospheric perspective and the impasto-ed colors throughout. As has been said, "The colors obtain the density of a breath that comes from the depths". "The personalities, in natural dimensions, pull the spectator into the scene, miraculously in equilibrium between the spectacle of nature and the contemplation of mystery".

She produced few paintings in 1964 because she was occupied with teaching as well as dealing with the disintegration of her marriage to Neri, whom she divorced in 1966. In 1965, Brown decided to completely change her painting style. Believing that the thick impasto, large scale, and brilliant color of her previous works had become a routine, she switched to painting more intimate, detailed, less spontaneous, black and white paintings.Tsujimoto and Baas 1998, p. 75.

Beginning in 2000, the artist started working more and more with color. He has said that only after he turned 60 did he become seriously interested into wet paint. Boris Kocheishvili paints with acrylics as if they were watercolors, only sometimes turning to impasto painting oil techniques. In the winter of 2009 the artist once again returned to the technique of reliefs – “painting with plaster”, which reflects his involvement with artistic illusionism.

His national reputation was made with semi-abstract paintings that showed one or two figures floating in space, but, as he said, colour came first, along with heavy impasto. In some of the canvases the figure might be hardly perceptible. In the years which followed, he continued to create this crucial subject of art for himself while exploring different media. In 1962, he painted a major mural at the Toronto Pearson International Airport.

Speaking of his own compositions, Alex Cameron describes his skies as "color fields", explaining that he "has a sky just so [he] can stick stuff in it". Today, Cameron spends his time painting going back and forth between landscapes and abstracts. This explains why abstract elements can often be found in the artist's landscapes. With increased impasto, Cameron paints by "squeezing paint out of tubes in finger-width squiggles, dashes and dots".

The sound hole is created with a depiction of a finely tooled gold rose, where Vermeer has created an abstract arrangement of painted strokes. These strokes are highlighted with hazy accents of lead-tin yellow paint. The decorative white and black trim of the guitars border intensifies the painting's cheerful atmosphere. The small detailed sound hole was created with blobs of impasto paint, which portrays the light reflecting across its slick uneven surface.

Using raking light, the effects of impasto and the surface texture of a painting are accentuated by the increased illumination of surfaces facing the light source and the exaggeration of shadows on surfaces facing away from the light source. In some instances raking light may help reveal pentimenti (changes in an artist's intention). In the case of wall paintings, raking light helps show preparatory techniques such as incisions in the plaster support.

By 1905, lead had also been eliminated from the glazes used. Examples of wares from this period are Mycovera Ware, Applique Ware and Lovique Ware. By 1903, the New Art Ware was in production, consisting of hand-painted impasto flowers on a matt glaze background. The years between 1903 and 1909 also saw the introduction of additional domestic wares including Daisy Ware, Princess Ware, Green Fireproof Ware, Myrtle Ware, Royal Blue Ware and Osborne Ware.

Austin, Tom. "Naked Art," Miami Herald, 10 October 2010. Metal Painting (2015)Ellen Harvey website. "Metal Paintings for Dr. Barnes, 2015," Projects. Retrieved 18 October 2019. was commissioned as a companion to an historical exhibition on metalwork at the Barnes Foundation and consisted of 887 oil-on- board, impasto silhouette portraits of each piece of metalwork in the collection. Hine, Thomas. "Barnes Goes Elemental with Iron," Philadelphia Inquirer, 18 October 2015. Retrieved 29 October 2019.

Oahu, 2012, Acrylic on canvas 67 x 71 in (170.18 x 180.34 cm) Ritchey was born in Ann Arbor, Michigan in 1975. He is an American contemporary artist whose works combine art, music, and fashion. He is a colorist and a casualist who often creates his work with an impasto application of white paint for both texture and dimension. He is known for his use of pale, pastel colors, manipulated pours and textures.

Tête d’otage No. 14 (Head of a Hostage No. 14, 1944) by Jean Fautrier Matterism also known as Matter Painting () refers to a style of painting that emphasizes the material qualities of paint through heavy impasto. The style marked a return to impulses characteristic of abstract expressionism. Matterism first emerged in Paris in the 1940s in the work of Jean Dubuffet and Jean Fautrier. The style reached widespread popularity in the 1950s.

Portrait thought to be of the artist's second wife, Judith Around sixty of Dobson's works survive, mostly half-length portraits dating from 1642 or later. The thick impasto of his early work gave way to a mere skim of paint, perhaps reflecting a wartime scarcity of materials. After Oxford fell to the Parliamentarians, in June 1646, Dobson returned to London. Now without patronage, he was briefly imprisoned for debt and died in poverty at the age of thirty-five.

A pigment had to be found which would be flexible enough to accommodate a range of working practices, which swept from a delicate watercolour technique to something verging on impasto. Vellum had to be found in sufficient quantities and when a source in Ireland was identified, it promptly went into liquidation. Fortunately, a management buyout by Joe Katz put Vellum and Parchment Works Celbridge back in operation. Vellum these days is normally supplied for orchestral tympani heads.

1960s) shows a boxing match, with an attempt to express the drama of the fight through few brushstrokes. Alston worked with oil-on-Masonite during this period as well, using impasto, cream, and ochre to create a moody cave-like artwork. Black and White #1 (1959) is one of Alston's more "monumental" works. Gray, white and black come together to fight for space on an abstract canvas, in a softer form than the more harsh Franz Kline.

Actual texture is a combination of how the painting looks, and how it feels on being touched. It is associated both with the heavy buildup of paint, such as an impasto effect, or the addition of materials. Many artists around the world use different items and materials to create actual texture in their pieces, some create textured pieces to be touched and experienced, such as MD Weems. MD Weems uses homemade gesso to sculpt texture into her artwork.

The pottery is decorated. The southern group (30 tombs) used an impasto lid on the burial jars, left serpent-fibulae of a different-style, a razor of lunate shape and one-piece cast spears. The pottery is undecorated. Urbanization of the area probably did not begin before the start of the second half of the 8th century BC. This process most likely finished by the end of the 7th century BC, and, at its height, the city's borders enclosed .

Initially Zobole painted as he had been taught at college, but by 1960 he started to experiment with his own style. He originally painted oil on canvas, but he then switched to oil on board and started to use a monochrome colours.Ernest Zobole 1927-1999 Art in Wales He began using impasto, mainly applied with a palette knife. His period of work during the mid 1960s are now regarded as the most daring phase of his career.

José Luis Álvarez (3 June 1917 Guatemala, Guatemala – 5 February 2012 Antigua Guatemala) was a Guatemalan artist who, from 1976 until his death, lived and painted in Antigua. He became known as the one of the best landscape artists from Guatemala, and was part of a generation of prolific artists who, as exponents of national art, defined the Guatemalan School. Álvarez developed a distinguished wide impasto technique, using the spatula, and a great delicacy in the use of color.

This focal blurring effect was intensified by his use of glaze instead of heavy impasto, creating works that evoked dream like state. Paintings such as Waiting for… (1972) and Nymphenburg (1974) exemplify his newly developed technique. At the same time, Borges' work began to show the influences of the old masters such as Velázquez and Goya. The composition and the placement of the figures in the paintings was more premeditated, compare to his early neofiguration period.

This walk and usable installation that are color coordinated, in turn result in a big picture, which is called a Henning "interior". The motives of Henning's paintings, applied in an impasto, matte painting, as well as its "interior", do not deny their style of kitsch and find inspiration in Francis Picabia and Sigmar Polke. Henning draws an amorphous, ship propeller- like signet, often fit in a hiding place in his motifs. Anton Henning lives and works in Berlin.

It generally has a glue-like consistency, but can be thinned with water to the degree that fits a particular artist's style and desired result. It can be used on canvas panels, illustration boards, paper, wood, and masonite. Because the dried paint film is inflexible and brittle, it is not appropriate for heavy impasto on flexible supports like canvas; canvas laminated to board is more suitable. Casein paint is reworkable and can be used for underpainting.

Stylistically, Lourdes is known for her vivid use of color, heavy impasto, and flowing, childlike Expressionistic imagery. She displayed a deliberate lack of realism with her distinct expressionism that occasionally incorporated aspects of Surrealism and Fauvism, such as curving and floating objects, vivid and unnaturally colored faces, disproportionate size, and so on. She also frequently used symbolism, such as in her color and stylistic choices (e.g. painting individuals blue during their "blue periods") to express more in layers.

Following in the populist footsteps of Affandi, Kartika has often painted rural and dispossessed people such as fishermen, farmers, workers and beggars. Since these individuals pose while interacting with her and exchanging life histories as she paints, these must be considered portraits. Although narrative, her paintings when viewed close up dissolve into strong, abstract statements in energetically applied impasto oils. Kartika's work ranges from the sweet and idyllic to an expressive realism that can be harsh.

In 1910 Peploe married Margaret MacKay (1873–1958), whom he had known since 1894. He also moved to Paris in 1910, a period which saw him concentrate increasingly on still life and landscape painting. His still-life works show the influence of Manet, with combinations of fluid brushwork, thick impasto and dark backgrounds with strong lighting. Returning to Scotland in 1912 he found that his usual dealer refused his work and he was obliged to stage his own exhibition.

Some of his later pastel works could be quite detailed, in spite of the artist's eye problems. Sierra Autumn, Big Sur Overlook and Mono Lake, all of which were shown in public exhibitions, are all examples of these detailed pastels. Karl's early works in oil were thinly painted, with little impasto and boldly colored, evidently too boldly for many collector's tastes. His later oils could be more thinly painted or thickly brushed examples of California Impressionism.

This painting was made by combining poured acrylic paint with impasto painting. Pour painting is an innovative way to use acrylic paints to create an art piece. Instead of using tools like brushes or knives to create a piece of art, fluid paints can be poured directly onto the surface and the canvas tilted to move the paint around. Pouring paints allows for the colors to blend naturally as they come in contact with each other.

However, after a period of separation, the couple divorced in 1910. Cordelia met John Henry Wilson and they married in Victoria, British Columbia in 1911, returning to Colorado soon thereafter. Cordelia then began to seriously develop her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly.

Painting in open air Schumann began as a realist and evolved into an impressionist, likewise moving from brush to palette knife as his primary tool. Of his painting The Storm, he noted that he began with a brush and later used his fingers. His heavy impasto has been likened to that of Wayne Thiebaud. Schumann's palette relied heavily on the primary colors, and he worked mainly in oils but also made watercolor, pen-and-ink, and crayola studies.

Expressionism was a constant presence in his paintings, but before choosing expressionism, he went through several phases including his White Phase and Warm Phase. In the mid-1960s, Mazev started to include in his non-figurative paintings in muted colours and rendered in dense and grainy impasto with materials such as burnt wooden plates, glass, scrap- metal sheets, and sand. In addition to paintings (mostly oil on canvas), he was also the author of murals, mosaics and ceramic arts.

The carcass is carefully coloured, and given texture by impasto. In the background, a woman appears behind a half-open door, lifting the painting from still life into a genre painting, a scene of everyday life. It is sometimes considered a vanitas or memento mori; some commentators make references to the killing of the fatted calf in the biblical story of the Prodigal Son, others directly to the Crucifixion of Jesus. The painting was possibly owned by Christoffel Hirschvogel in 1661.

In his composition St. Lawrence Distributing the Riches of the Church (c. 1625, Saint Louis Art Museum) the artist achieved a clear and lucid treatment of space and an accurate definition of form by the use of light and shade. The impasto in this work had become even thicker than before. By the end of the 1620s, Strozzi had started to synthesize a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental, realistic starkness.

During her lifetime Stettheimer had only one solo exhibition, at Knoedler in 1916. Her friends encouraged her to exhibit her work publicly, but finding a suitable venue was complicated by Stettheimer's insistence that the gallery be redecorated to resemble her boudoir. Albert Sterner's wife, Marie Sterner, who worked at Knoedler, acted as an intermediary between the artist and the gallerist. The show consisted of a number of new works, derivative of Matisse, painted with bright, pure colors, thick impasto, and heavy contours.

Instead, Monet has rendered large areas of the canvas in closely like tones and colours of blue and grey. The application of smaller strokes of greens, yellows, reds and darker blues breaks up these large expanses, and the almost choreographed dispersal of these various colours helps bind the picture together. Paint at the depicted road surface is thicker than elsewhere in the painting, and impasto is suggestive of the feel of disturbed snow.The Simon Sainsbury Bequest to Tate and The National Gallery.

'He was always effective and satisfying', wrote the Jewish Chronicle, 'but his Kentish landscapes have been a consistent breakthrough . . . . He has things in common with several good artists, but most noticeable with what de Stael might have painted had he been able to sustain himself at his best. For Cohen now uses that thick impasto in jewel-like colour-blocks that are subtly balanced. The variety of blues and greens, and of reds, that he can weigh in his balance is astonishing'.

In his early career, Cameron worked as a studio assistant to Jack Bush from 1972 to 1976. Bush is said to have influenced Cameron's "lyrical semi-abstract painting style", as well as his thick impasto application of paint. Through Bush, Cameron met and maintained an ongoing, close relationship with the art critic Clement Greenberg. Inspired by Bush, Painters Eleven and the Group of Seven, Cameron's paintings primarily feature brightly colored, abstractions, which can be seen in his later work as landscapes.

The color is applied in up to 40 layers, partly wash, partly impasto. Arvid Boecker uses squeegees to remove older layers of paint or applies new layers of paint with the painting knife. This processing can take up to one year. Exhibition view 2018 at the Verein für aktuelle Kunst Ruhrgebiet e.V., Oberhausen, Germany The photo shows the works titled "#1156", "#1167", "#1173", "#1176", all oil on canvas, 2018, 20×16×3 inches During this long period, his pictures mature.

His work from this period also exhibits his interest in materiality through his overlapping of smooth and encrusted surfaces, which he accomplished by using sand and heavy impasto. In 1963 his work tended toward an increased formal and material simplicity in which circular forms predominated, reflecting his interest in Japanese art. Throughout his career Feito has continually explored relationships among surface textures, light, color, and form. Because of his preoccupation with light, many critics have ascribed an element of mysticism to his work.

She developed two contrasting painterly styles, depending on her portrayal of light: either a thick impasto, used for her portrayal of redwoods and eucalyptus; or more atmospheric effects to depict the foggy California hillsides and the coastal ranges. The majority of her known works are in two private collections, although some of her paintings are now in the collection of The Hearst Art Gallery, Saint Mary’s College, Moraga, California—home of a substantial number of the paintings of William Keith.

In 1908, Ginner left Vitti's and worked on his own in Paris, taking Vincent van Gogh, Paul Gauguin and Paul Cézanne for his guides. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one- person show, which helped to introduce post-Impressionism to South America. His oil paintings showed the influence of Van Gogh, with their heavy impasto paint. In 1910 Ginner went to London, to serve on the Hanging Committee of the Allied Artists Association's third exhibition.

Stanley Meisner, Albert Barnes and his pursuit of non-French art in Paris, Los Angeles Times, May 1, 2015 Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Yitzhak Frenkel Frenel, Moïse Kisling, Maxa Nordau and Shimshon Holzman. The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a cubist style, but most tended toward expression of mood rather than an emphasis on formal structure. Their paintings often feature thickly brushed or troweled impasto.

Avarice is allegorical and serves as a warning at both the transience of life and the ultimate worthlessness of earthly fortune. It is generally grouped, along with Melencolia I, as one of Dürer's vanitas images.Bailey, 13 Giorgione's Col tempo ('With age'), 1500–1510, shares the depiction of loose strands of hair, sagging breasts and an ambiguous facial expression with Dürer's 1507 morality painting. Intended to represent both avarice and the passing nature of youthful beauty, the woman is shown in half-length, painted in thick impasto.

Born in Copenhagen, Geertsen first trained as a gardener (1934–39) before concentrating on art in which he was self-taught. In 1937, he associated with Thorvald Hansen and other painters from Aalborg, developing an interest in Naturalism and painting dark still lifes and landscapes inspired by Paul Cézanne and Amedeo Modigliani. In 1943, he moved to Copenhagen adopting a more spontaneous impasto, surrealistic technique in his painting. In 1947, he was a co-founded of the Linien II artists association, which concentrated on concrete art.

Letter to Len Fox [unpublished manuscript] Papers of Len Fox 11 January 1981 [held at State Library of NSW] His Sturt pea landscapes are an example of the use of magnification: a tiny prostrate flower in reality, is given gigantic proportions against the surrounding landscape. In other occasions, cartoonish manipulations of human proportions have been used for comic effect.Moore, p. 35 Olsen observes that another aspect of Byrne's "unusual spacial abilities" is his use of impasto on foreground objects that he considers more important in the schema.

These introduced a change in his style of painting - instead of dense impasto he began to use thin layers of colour with fine brush movements. Crnčić was among the first members of the Yugoslav Academy of Sciences and Arts in 1919 and was the Director of The Strossmayer Gallery of Old Masters from 1920-1928. Menci Clement Crnčić died on 9 November 1930, aged 65. His death came suddenly after he returned one sunny autumn Sunday from a trip to the Sava river bank near Podsused.

However, the portrait has the same precision, impasto highlights and thinly brushed background as the Portrait of Bruni. Portrait of Asker-Khan, Ambassador from Persia in 1808 was exhibited in the Salon of 1810, and her second portrait of the ambassador was exhibited in the Salon of 1814. Louise- Phillipe bought the portrait in 1836 for the Musée de Versailles, where it still remains. The background of the portrait is more architectural than her previous works with a curtain, a column, and a distant landscape.

Coconut Cove, 2010, oil on masonite, 9x12 inches Lenore "Lori" McNamara (born April 30, 1952) is an artist in Fort Pierce, Florida. She works en plein air and paints in an Impressionist style. Her work has been featured in several galleries, especially in the A. E. Backus Gallery & Museum in Fort Pierce, and it is currently on display in her studio at the ArtBank, also in Fort Pierce. McNamara is best known for her landscapes, which depict natural Florida environments, executed with a bold impasto technique.

With the classic means of oil painting, the artist endeavors to fathom the borderlines between fiction and reality. Through his mostly horizontal use of a squeegee for blurring the oil paint, which he previously applies to the canvas in heavy impasto and thick layers, he achieves the impression of the object's motion blur or the notion of a distorted, faltering video recording. Time freezes. The paintings are snap- shots of events that take place, blurred, distorted movements, Freeze Frames that stylistically move between Photorealism and Abstract Expressionism.

Interior with bed, oil on canvas, 310 x 670 mm, Sanlam Art Collection Wolf Kibel is frequently referred to as an expressionist artist, but his expressionism has none of the exuberance of Irma Stern or pastoral qualities of Maggie Laubser. He did not share the revolutionary anger of the original Expressionists and his influences ranged to Matisse, Chagall and Soutine. Like Chagall and Soutine, he was of Eastern European, and exclusively Jewish, extraction. Like Soutine he would employ a painterly approach, with rich impasto and expressive brushmarks.

His large vertical paintings with their tripartite division followed Gaspar Peeter Verbruggen the Younger's compositions.David Oldfield, Later Flemish paintings in the National Gallery of Ireland: the seventeenth to nineteenth centuries, National Gallery of Ireland, 1992, p. 56 Still life of elaborate sculpted urns decorated with flowers In its use of broad, impasto brush strokes, the style of his work reflects developments initiated by Italian artists Mario Nuzzi and Michele Pace del Campidoglio. The work of the French painter Jean-Baptiste Monnoyer was also an influence.

Hughes (2004), 130 However, he found the format limiting, as it did not allow him to capture complex color shifts or texture, and was unsuited to the impasto and glazing techniques he was by then applying to his painted works. The tapestries seem as comments on human types, fashion and fads.Hughes (2004), 83 Other works from the period include a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.

Dixon was both a painter and a printmaker. In the 1930s, he painted in a Social Realist style, and it wasn't until his years as a student at CSFA that he developed his characteristic mature style, inspired by the early work of Jackson Pollock. These later paintings featured dramatic strokes of brilliant, harsh color laid on in heavy impasto, while his prints and drawings were energized by vigorous lines. One critic considered him the most adventurous colorist among the first wave of Abstract Expressionists to emerge from the Bay Area.

The two principal periods in Cumming's painting are the figurative abstraction of the early sixties derived in main part from his Lewis experience and the more geometrical and purer abstraction of the seventies onwards. The "painterly" yet thinly applied textures of Cumming’s early work contrasts with the heavy impasto and rich colour themes of his contemporaries in the Edinburgh School. His later colour experimentations were to be as much intellectual as expressive, leading to a deeper synthesis of harmony and contrast. A strong element of fine draughtsmanship is a constant throughout Cumming’s work.

Throughout the 1940s and 1950s, Pousette-Dart experimented widely with varying types of media and approaches, alternating broadly between densely filled canvases and more simplified surfaces and forms. Richly layered works known as Gothic and Byzantine paintings, for instance, use heavy, layered impasto and resplendent, prismatic color to invoke manuscript illuminations, mosaics and stained glass windows. Savage Rose from 1951, in the collection of the Honolulu Museum of Art, is an example of these heavily impastoed works. White Paintings, in contrast, are ethereal compositions of graphite line on variegated white grounds.

Lilian Garcia-Roig is a contemporary American painter. Her large-scale on-site painting installations of densely forested landscapes test the viewer's perception with an impasto application of paint and intense buildup of surface. Garcia-Roig's painting process involves day-long sessions that culminate in a performative wet-on-wet rendering of the ever-changing light of that specific location to capture a sense of time.Through this approach, Garcia-Roig engages with the tradition plein-air painting while considering the complex notions of place, heritage, and Cuban-American identity.

Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1906 Matisse exhibited his Liseuse, two still lifes (Tapis rouge and à la statuette), flowers and a landscape (no. 1171-1175). Robert Antoine Pinchon showed his Prairies inondées (Saint-Étienne-du-Rouvray, près de Rouen) (no. 1367), now at the Musée de Louviers, painted in Fauvist style, with golden yellows, incandescent blues, thick impasto and larger brushstrokes.François Lespinasse, Robert Antoine Pinchon: 1886-1943, 1990, repr.

Hughes, 130 However, he found the format limiting, because being inherently matte, tapestry was unable to capture complex colour shift or texture, and was unsuited to the impasto and glazing techniques he was by then applying to his painted works.Hughes, 83 Dating the series has not been difficult as the Royal Tapestry Works maintained a detailed record of the dates, titles, sizes and states in which each of the cartoons arrived. Goya's letters to his friends (in particular his correspondence with the Aragonese industrialist Martín Zapater) contain additional details.

I would add that Radou is not only an excellent colourist, but also an excellent draughtsman, and he is not limited only to his activities as a mural painter. Radou is a demanding artist, who invents geometric forms which are imprisoned in a network of straight lines, spirals, curves and contre-curves, and which give his large paintings, at the same time, a firm structure and very dynamic rhythm. In addition he paints with an exemplary honesty. In any mixture of colours there is no suspect impasto, no 'dripping', no violence.

She liquefies the wax with a blowtorch and the layers are fused, resulting in the illusion of surface depth and translucency. This illusion is heightened by Eby's use of impasto on the surface of her canvases. Her work expresses atmosphere and motion in a style Eby has referred to as “lyrical abstraction.” An accomplished classical pianist, music bears a prominent influence in her artworks, which are often inspired by and titled after pieces of classical and contemporary music by composers such as John Cage, Alan Hovhaness, Johannes Brahms and Claude Debussy.

ArtProfil 96-2013, S. 44 Since then, the use of intensive to lurid colours and the absence of realistic representation have become characteristic of his painting style.ArtProfil 93-2012, S. 33 In his paintings, the colour is applied with quick brushstrokes and occasionally with impasto techniques and the images are additionally abstracted by the use of Graffiti elements. Keil prefers to paint human figures, portraits, big city scenes, landscapes and still life images of flowers. His emotional way of painting is mainly driven by a desire for freedom from social constraints and conventions.

Ara began his career doing landscapes and paintings on socio-historical themes but he is best known for his still life and nude paintings. Ara was the first contemporary Indian painter to focus on the female nude as a subject while staying within the limits of naturalism. Several of his works deal with still life and human figure studies. While he initially used watercolours and gouaches, where his use of the impasto effect often made them resemble oil paintings, he later moved on to the use of oil paints.

Every piece in the series is strongly influenced by the conventions of German Expressionism, while many are heavily impressionistic in technique. The painted versions are built up from thick layers of impasto paint, and typically show strong broad vertical brush strokes. The emphasis on verticals gives the works a hazy feel and adds to their emotive power, an effect the art critic Michelle Facos described as presenting the viewer with "a scene experienced at close range but hazily, as if viewed through tears or the veil of memory".

Gliha's early work during the 1930s and 40s were landscapes, portraits and still lifes, painted with in conventional, rather neutral colours. His landscapes showed the influence of Paul Cézanne, and he tended to use thick paint in an impasto style to describe the form in his still life subjects. In the 1950s, lyrical abstraction was taking hold across Europe, with a new abstraction based on natural subjects. In 1954, Oton Gliha painted "Primorje", a coastal landscape that marked the beginning of one of the major series in Croatian art.

The first objective was originally sought by masters such as Rembrandt, Titian, and Vermeer, to represent folds in clothes or jewels: it was then juxtaposed with a more delicate painting style. Much later, the French Impressionists created pieces covering entire canvases with rich impasto textures. Vincent van Gogh used it frequently for aesthetics and expression. Abstract expressionists such as Hans Hofmann and Willem de Kooning also made extensive use of it, motivated in part by a desire to create paintings which dramatically record the action of painting itself.

Two of the paintings of this series belong to the Collection of the Museum of the City of Brno. In the first one, from 1968, we can see the repercussions of the artist’s initial informal stages, and reminiscences of the “Group 42” painting styles, such as living brushstrokes, traces created by the pouring of colour paints, the dialogue of impasto structures with glaze painting techniques, and the contrast of shades and light forms.Ilona Víchová, Art historian, Prague Prague (capital of Czech Republic) and Brno (Czech Republic) English translation: Dipl. Ing.

Houben Tcherkelov, (Bulgarian: Хубен Черкелов; known as Houben R.T.; American, born in Bulgaria on January 23, 1970) is a painter and experimental artist who lives and works in New York. In his early photographs, film, and installations post-communist Bulgaria and Bulgarian art is a recurrent theme. In his more recent work, Tcherkelov paints images from American and other national currencies using impasto, glaze, foil, acrylic and watercolor techniques. In all of his work the artist seeks to suggest the way in which symbolic images legitimize national power.

Nonetheless, Sickert's paintings of the Camden Town Murder series of c. 1906–1909 were painted in heavy impasto and narrow tonal range, as were numerous other obese nudes in the pre-World War I period in which the fleshiness of the figures is connected to the thickness of the paint—a device that was later adapted by Lucian Freud. The influence of these paintings on successive generations of British artists has been noted in the works of Freud, David Bomberg, Francis Bacon, Frank Auerbach, Howard Hodgkin, and Leon Kossoff.Baron et al.

He returned to South Africa and started making sculptures in his garage, from discarded materials. One of these won him the ‘Best Artist with No Formal Training’ at the Association of Arts in Bellville Cape. In his Hout Bay studio Paul started using an impasto technique (thick industrial paste into which he scratched lines and images) which was to become intrinsic to his style of automatic scribbling. At this stage he also used his computer know-how to optimise his use of the internet and connect to the international art scene.

During this time, Qadri stopped painting with impasto oil on canvas and experimented with paper, which he considered softer, more feminine, and more suited to works that evolved out of a meditative state. While in Paris, the Danish Ministry of Culture offered Qadri a show, including traveling expenses and a stipend. The ministry's gallery director bought a painting, as did New Yorker Sam Kanner of Court Gallerie. Christian Oberg, from the graphic department of Denmark's Louisiana Museum, bought several paintings and arranged five exhibitions for Qadri in Denmark.

His style is labeled as "3D", due to thick impasto strokes, sculpting the oil paint to give a painting texture resulting in a total three- dimensional effect, that has been called "transcendental"."J.D. Miller Wants to Find Paradise in Your Human Energy" This style of oil painting combines both aspect of painting, as well sculpture, as the oil paint must be sculpted to give it a 3D appearance."The Art of the Dallas Design District" Due to the sculpting effect of this art style, Miller uses large amounts of paint. He uses Winsor & Newton brand oil paint.

Though Pinchon had not exhibited in room VII with the fauves, his palette was already pure and his impasto thick. Robert Antoine Pinchon (left) during World War I On 31 September 1906 Pinchon joined the 39th Infantry Regiment. Marcel Duchamp had just finished his military service with the same regiment. In 1906 Pinchon showed again in Paris, at the 4th Salon d'Automne: Prairies inondées (Saint- Etienne-du-Rouvray, près de Rouen), (no. 1367 of the catalogue) Musée de Louviers, Eure1906 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif.

Exposés au Grand Palais des Champs-Élysées, 1906 His paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues, a thick impasto and larger brushstrokes. At the instigation of Pierre Dumont and inspired by Othon Friesz's group called Le Cercle de l'Art Moderne, in Le Havre, the group XXX (thirty) was formed as a collective of independent writers, painters and sculptors from the vicinity of Rouen,Edition du Groupe des XXX (trente), Paris, Rouen, December 1907 including Matisse, Derain, Dufy and Vlaminck contributing to the endeavor. Pinchon joined XXX that year.

He painted still lifes, seascapes, and landscapes, which were new genres in Croatian art at the time. His palette became lighter and brighter as he worked outdoors: browns, greys and dull greens became purer, and were joined the purple of heather, the yellow of broom, and the rich array of blues of the sea. Abandoning his previously detailed style, his smaller studies from nature are more creative. With thick impasto and impulsive brush strokes, around 1907 a new style emerged in his work – pointillism in a light, bright colours, that he used for his landscapes of Pelješac.

Although faces tend to be crude and cartoonish, the subtle positioning of dots in a character's eyes still manages to evoke their distinct emotional states. Painting the correct facial expression was of importance to Byrne; often his faces would build up like impasto in multiple attempts at achieving the correct state. Comparison has been drawn between Byrne's figures and the crowds in the London streetscapes of L. S. Lowry.Moore, p57 For Geoffrey Lehmann, Byrne's figures appear "puppet like", as if all actors on a staged narrative, small and standardised against a dominating landscape, and rarely with any emphasis on any individual figure.

The works of Armin Baumgarten arise beyond the antagonism between the figurative and the abstract, i.e. this picture is not borrowed from the optical reality, but establishes itself within a picturesque charging process on the scene as a separate image reality. From the painting originally thin liquid Armin Baumgarten came to a very tactile, impasto ductus gain by the motifs a physical presence. This development process resulted since 2003 in the study of sculpture that is created first in a lengthy process of work up and ablation of gypsum and is then implemented as a bronze casting.

The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale.

1823-1850, Adamant Media Corporation (2001) ; transl. H. Wellington, > The Journal of Eugene Delacroix (Arts & Letters), Phaidon (1995) This particular nude is represented with an almost naturalistic sincerity, without any decorative arrangement. Although it already displays the variations of light on flesh which interested the artist so deeply, the pigment, applied in masterly touches in a granular impasto, has not yet acquired the fluidity which was to owe to the influence of English painting. This first made itself felt at the salon of 1824, where Delacroix saw works by John Constable, and increased in 1825, the date of his visit to London.

I have tremendous amounts of energy.” McHale's artistic works were characterised by expressive figuration and heavily influenced by the Art Brut of continental painters such as Jean Dubuffet and Wols. As a rare female voice at this time, McHale’s preoccupation with the female form explored existential questions. Her textured, impasto surfaces depict distorted forms that at once reflect the resilience of the human body and describe mid-20th-century anguish. McHale’s work was acknowledged in articles and exhibitions of the day; the influential critic Reyner Banham included an illustration of her work in his 1955 article "The New Brutalism", in The Architectural Review.

Henri's works were characterized by vigorous brushstrokes and bold impasto which stressed the materiality of the paint. Henri influenced Glackens, Luks, Shinn and Sloan. Bennard B. Perlman, Robert Henri: his life and art pp74-79 Dover, 1991 Retrieved August 9, 2010 In 1906, he was elected to the National Academy of Design, but when painters in his circle were rejected for the Academy's 1907 exhibition, he accused fellow jurors of bias and walked off the jury, resolving to organize a show of his own. He would later refer to the Academy as a cemetery of art.

This quality comes through in another remark from Dr. Stanton's book. She's speaking of "Crags and Crevices", but it fits many of the works: "Nothing in the painting is still, for the big forms seem to hover in mid-air, colliding as they fall. There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife." Stanton, Phoebe B., "The Sculptural Landscape of Jane Frank", page 14 Even 1968's "Aerial View No. 1", despite the spatial hint of the title, is far from literal.

Portrait of Lang (1911) by William Merritt Chase Annie Traquair Lang (September 8, 1885 – November 8, 1918) was an American Impressionist painter, known for experimental impasto brushstrokes and jewel-tone abstracted forms. She exhibited portraits, still lifes and landscapes at two dozen venues in Europe and the U.S., and institutions including the Metropolitan Museum of Art acquired her works. She was acclaimed in publications including the New York Times and The International Studio. She also earned praise for her collection of paintings by her mentor, William Merritt Chase, with whom she traveled in Europe and California.

Royal Talens also has produced a water mixable painting paste that acts as a thickener as well as transparetizer which will not change the consistency of the paint. There are many documented issues with accelerator products in this category causing cracking and damaging the archivability of the medium. Winsor and Newton has created a special line of oils, mediums, varnishes, and thinners to complement their “Artisan” brand of water mixable oil colors. This line includes thinner, linseed oil, safflower oil, stand oil, painting medium, fast drying medium, and impasto medium, as well as gloss varnish, matt varnish, satin varnish, and varnish remover.

Michal Na'aman, who created collages and other conceptual art in the 1970s, moved to large scale paintings with psychological and psychoanalytic overtones. Moshe Gershuni moved from conceptual and minimalistic sculpture to painting full of Impasto (thickly laid on paint) in which he combined homoerotic symbolism with images of soldiers with Jewish associations, such as verses from the Bible and from other Judeo-Christian sources. Another prominent aspect of art in those years was the use of references to the Holocaust and to Jewish culture in Europe. Gershuni's painting techniques included applying paint with his hands, without using a brush, transforming the act of painting into a sort of solo performance.

Retrieved April 6, 2020.Pardee, Hearne. "Katherine Bradford, Fear of Waves," The Brooklyn Rail, February 3, 2016. Retrieved April 6, 2020. Other paintings, like the diagonally divided, vertical Fear of Waves (2016), introduce an element of uncertainty or calamity whose specific threat and outcome remains a mystery; in bird's-eye view, it depicts a crowd of swimmers fleeing giant, leftward-moving waves toward through a turquoise impasto, their insignificance against the unfathomable evoking pathos. Critics such as Lilly Wei identify Bradford's "Friends and Strangers" (2018) and "Legs and Stripes" (2019) shows as significant departures in palette, process and subject, including resonant, collective themes such as race, sexuality, gender and identity.

Unlike early Renaissance painters, American Impressionists favored asymmetrical composition, cropped figures, and plunging perspectives in their works in order to create a more "impressionist" version of the subject. In addition, American impressionists used pure color straight from the tubes to make the works more vibrant, used broken brushstrokes, and practiced "impasto"- a style of painting characterized by thick raised strokes. European impressionists painted tranquil scenes of landscapes or the lower and middle classes. American impressionists focused on landscapes like the European impressionists, but unlike their European counterparts, American impressionists painted scenes that depicted the upper class in an effort to show off America's economic prowess.

The figures were greatly distorted through the use of heavy impasto layered with rapid and rough brushwork. This technique echoed the characteristics of the Mexican artist Jose Luis Cuevas and the Argentinian Otra Figuracion movement "along with their sources in de Kooning, Bacon, Goya, Rembrandt, Posada, Orozco, the CoBrA artists as well as Emil Nolde and James Ensor." Paintings produced during this period came to be his most renown works. Based on the Coronation of Napoleon by Jacques-Louis David, Borges produced a series of drawings and paintings, Characters from Napoleon's Coronation, that made a mockery of the bourgeoisie class, transforming the formal coronation scene into a "burlesque" with deformed figures.

Critics describe Murray as "an ardent, if non- doctrinaire, modernist" and colorist, whose "inclusive, open-ended formalism" has charted a distinct course regardless of art-world fashions within, for, or against abstraction. MoMA PS1 founder Alanna Heiss suggests that Murray has avoided predictability through a slow but constant evolution from her early hard-edged geometric abstraction to her later expressive style using gesture and impasto to evoke perceptual and tactile experiences. Her work suggests influences including the early modernists, New York School and Abstract Expressionists, El Greco and Albert Pinkham Ryder, as well as Eastern influences;Green, Denise. "New York, New York," Art Monthly Australia, #196, 2007.

This distinction was often class-based: scholars, particularly in Confucian art felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours inspired by Indian art. Korean painters in the post-1945 period have assimilated some of the approaches of the west. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first.

Between 1980 and 1984 Siopis developed her 'cake' paintings which sprang from her childhood experiences of watching her mother ice cakes in the family bakery. Siopis’ fascination with the implements used in the shop gave rise to this first series of her career. Instead of the traditional paintbrush techniques, she used unconventional implements such as piping nozzles and other tools used in the decoration of cakes. Concerned with exploring the materiality of paint and its potential as object, Siopis worked with oil paint in a way that strayed from the norm, layering it thickly in high relief, in a technique referred to as ‘impasto’.

The underpainting or ground beneath these was usually white (typically gesso coated with a primer), allowing light to reflect back through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially the aim was, as with the established techniques of tempera and fresco, to produce a smooth surface when no attention was drawn to the brushstrokes or texture of the painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini, around 1500.

The gold on the cloth is rendered with a variety of impasto, grid and dots of varying colour and size.Campbell (1998), 402 Many of the objects around her are also closely detailed, in particular the wooden floor and nails, the folds of the Magdalene's dress, the costume of the figures in the exterior and the beads of Joseph's rosary. The effect of falling light is closely studied; Joseph's crystal rosary beads have bright highlights, while subtle delineations of light and shade can be seen in the sideboard's tracery and in the clasps of her book. Mary is absorbed in her reading and seemingly unaware of her surroundings.

On June 24, 2006 an exhibition opened at the Givon Art Gallery in which Gershuni displayed a series of paintings on fabric, done in the technique of Impasto [paint applied thickly] using oil paints and thickening gel, with a spray dripping water on the damp gel layer. These paintings, which he had begun to create at the beginning of the decade, had the look of "fields of paint," in the style of the "New York School." The works strove, in Gershuni's words, to be "a transparent screen of shadows that come from the black place."Dana Gillerman, "I'm a Laborer in a Factory," Haaretz website.

In this procedure, the hot iron was not used. The use of hand- ironing is liable to produce a flattening of impasto. This problem was mitigated by the introduction in the 1950s of vacuum hot-table processes, designed for use with wax-resin adhesives, which exerted a more even pressure on the paint surface; however the longer periods of heating and high temperatures involved often led to other types of textural alteration. Wax- based adhesives seem to have been in use for lining from the 18th century, although the earliest well-documented case of their employment is in the lining of Rembrandt's Night Watch in 1851.

Both Ba Nyan and Ba Zaw returned to Burma in 1930 (Ba Nyan from approximately eight years of study in London and Ba Zaw from three). It was Ba Nyan, not Ba Zaw, however, who received triumphant accolades in Burma, holding a famous exhibition at the Governor's House only months after his return. In London Ba Nyan had mastered the arts of oil painting and gouache, while Ba Zaw, who had remained at the Royal College of Art, refined his techniques in watercolor. Ba Nyan began to surprise Burmese painters with his techniques in thick, impasto oil and in gouache; Ba Zaw, on the other hand, left as a watercolorist and returned as one.

The third sense of the term describes a technique developed by Ernest Chaplet, the secret of which was later sold by him to Haviland & Co.. This was a method of painting art pottery in brightly-coloured slips, in French also called peinture à la barbotine or in gouache vitrifiable. In this type there may be some impasto, but the decoration is essentially close to the surface. The term "Barbotine ware" also describes the American art pottery that emulated the Haviland pottery, which made a great impression at the 1876 Philadelphia Centennial Exposition.Ellison, 43-53 In America this led to the technique sometimes being called "Limoges ware", Haviland being a large maker of Limoges porcelain.

Silver & Smith, 246 Art historians have compared the work to a Giorgionesque canvas Col tempo (With age), with which it shares obvious thematic similarities, while Dürer's use of impasto and the rich colouring in the foreground display a debt to the Venetian school. The art historian T. Sturge Moore suggests that Dürer may have wanted to show that he could paint like Giorgione.Sturge Moore, 207–208 Others believe that the work is a satire on a sitter who had not paid him as much as he might have wished for an earlier portrait. However, given the artist's financial situation at this time, it seems unlikely that he would have deliberately offended potential patrons or customers.

Wolmark kept to traditional genre, and transformed his subjects through the use of flattened forms, built up with a heavy impasto. His daring use of bright colour on some paintings such as "An Arrangement: Group of Nudes"Christies sale London 16 July 2015 demonstrate a skillset akin to Andy Warhol and earned him the title of 'The Colour King'. His use of colour was so bright that in an exhibition of the International Society of Artists no English painter dared hang work next to his. His work was finally placed next to Van Gogh's, a matter of considerable pride to the artist in later years. Also exhibited at "Manet and the Post Impressionists" in 1910 at the Grafton Gallery.

From 1976 to 1983 Crull's paintings focused on organic, biomorphic shapes on white backgrounds, a gestational period for the artist that expressed in a pure abstract manner with impasto like surfaces. He joined the Stella Polaris Gallery in 1983, where he met art critic and writer Edward Goldman, and host of KCRW's “Art Talk.” Goldman championed Crull's works, which were acquired by corporate art collections, and was also instrumental in Crull's first significant non-gallery show at the USC Fisher Museum of Art (then, the Fisher Gallery) at the University of Southern California. In 1983 Crull relocated to New York City, and became a seminal figure in the East Village art scene.

300pxIn absence of violent contrast and supported by the Mediterranean conception of light and colour it is remarkable in his career the constant maturation of an almost gestual modulation techniques of form and volume based upon brush strokes full of impasto. Pagans i Monsalvatje sees painting as a personal interpretation of the artist but capable of arriving to the onlooker through a never-ending state of crisis between knowledge and the feeling of reality. Through his career, Jordi Pagans has worked and investigated with different materials to paint his urban and Mediterranean landscapes and still lives. He has arisen not only as an oil painter but also as a drawer, watercolorist, pastel and gouache painter.

Cheng controlled the process by deciding when to remove the paper from the bath. Cheng would sometimes resoak the paper in order to obtain the desired surface and textural coloration. He manipulated viscous surfaces with the smaller works and hoped to achieve a greater impasto with the larger torn paper pieces, as these pieces had a tendency to break if too heavily laden.Geldzahler, Henry (November/December 1988) "Studio Visit: Ching Ho Cheng", CONTEMPORANEA At a time when Asian-Americans were nearly absent from the contemporary art scene, Cheng was highly regarded by peers and by prominent art historians such as Gert Schiff and Henry Geldzahler, the first curator of twentieth-century art at the Metropolitan Museum of Art.

The piece also uses words and plays with language, specifically grammar, hallmarks of Doogan's work. At the same time that Doogan was working on her large-scale charcoal drawings, she was executing and exhibiting oil paintings, often at a life-size scale and in a multi-panel presentation. To create her realistic oil paintings of the body in all of its aging details, Doogan uses impasto, a technique where paint is applied thickly and built up in layers, sometimes with a palette knife rather than a paint brush. The result is a three-dimensional quality that allows Doogan to mimic the aging body in all of its details: wrinkles, bruises, varicose veins and sagging skin.

In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro.

The broadside begins by orienting the viewer to the scene as a whole: The Icebergs' play of light is highly detailed, with the afternoon sun somewhere at left casting shadows in blues, purples, and pinks, and the ice and water interacting in complex reflections, especially by the grotto. The viewer's eye is less likely to move vertically, from foreground to background, as it would in most landscape paintings, than to zig-zag. The likely starting point, the ship's mast, seems to point to the boulder and grotto at right, which in turn is oriented toward the large iceberg dominating the background. The boulder and ice around the grotto are painted with impasto, while Church otherwise conceals his brushstrokes.

In May 1996 Gershuni held a joint exhibition with Raffi Lavie in the Givon Gallery in Tel Aviv. The exhibition was considered one of the most important exhibitions of its time, not only because it presented a body of works of two canonical figures in Israeli art, or as it was defined, of "local masters turning 60,"Sarah Breitberg-Semel, "The Gershuni File," Studio 76 (October–November 1996):24. [Hebrew] but primarily because of its relationship to Israeli public space. Gershuni's works, which included captions such as "El Male Rachamim" [God, Full of Mercy], from the "Kaddish" prayer, included images in large, dark paint stains, similar to eyes, making use of the thick impasto.

But Jenney's selection for "Bad" Painting is curious, in that the work was nine years old at the time of the exhibition, and widely recognised. However, Tucker's selection concentrates on examples where the object or drawing style loses some of its familiarity and gives the rugged treatment a more mannered, arbitrary quality. A Chatelain example such as Untitled (1977) extends this development, so that figures have become more cursory, perhaps Expressionist. Any rationale for the stooping figure on the left of the picture, for example, is now lost and the surrounding ground, granted even greater latitude to impasto brushstroke and colour. Once more, the work exhausts a seam of rigid iconography and painterly treatment, arrives at a ‘bad’ icon, or an icon treated "badly".

An example would be his painting Totemic Figure, which was created in 1958-1960. This painting shows Motherwell’s use of brushwork to create a black form on the canvas. But instead of using black to cover the background, in Je t'aime No. IV he uses multiple colors that overlap on one another. Arnason expounds on this difference by stating that “the important difference lies in the sheer, expressionist exuberance of the calligraphy and in the degree to which the surface, with all its brilliant color variations, is unified by the sensuous impasto of the brushwork.” Along with his different use of color in his paintings, there is also a progression of Motherwell’s artistic style, which can be seen through his Je t'aime series.

Jacques KupfermannJacques Herbert Kupfermann (1926–1987) was an American Expressionist painter who was born in Vienna. His work, both abstract and figurative, divides into several distinct periods, reflecting both his early influences and later lengthy sojourns in countries as far apart as Mexico and Norway. Renowned for his portraits as well as landscapes, his subjects include many eminent figures. His distinctive use of impasto, the typically Expressionist love of the paint itself and rich earth colours, are perhaps some of the defining features of his work – as are his love of bleak Northerly scenery, the combination of delicacy and vibrant movement discernible in his still-life subjects, and an aura of tenderness and serenity even where a certain turbulence seems to lurk beneath the surface.

A style later described as that of the ‘Kirkcudbright School’ began to emerge in the late 1880s, where subjects typically involve children amongst woodland or flowers, becoming ever more decorative, and with much use of the impasto technique, with paint laid on heavily with a palette knife. Exhibitions containing pieces from the ‘Kirkcudbright School’ were displayed as part of annual exhibitions arranged by the Kirkcudbrightshire Fine Art Association between 1886-1889 in Kirkcudbright. Hornel’s brother-in-law, William Mouncey (1852-1901), and the Canadian artist H. Ivan Neilson (1865-1931), who worked in Kirkcudbright in the period 1900-1904, can also be counted as part of the ‘Kirkcudbright School’, along with Hornel, MacGeorge, Blacklock, Malcolm M Harper (1839-1917) and John Copland (1854-1929).

Claerhout had no formal art training but came from an artistic family, and had belonged to a local art society during his student years. Claerhout has been defined as an expressionist painter and his work referenced Flemish Expressionism especially the works of Constant Permeke, whose paintings, like Claerhout's, were concerned with agricultural labourers and the land they tend. Examples of his work, characterised by their warm colours, thick impasto paint, exaggerated forms, humour and compassion were exhibited widely in South Africa, as well as in Belgium, Canada, Germany, the United States and the United Kingdom. In 1958 he joined a group of painters, writers and art patrons who formed an art movement in the Free State, which became known as the Bloemfontein Group.

The impressionist landscapes of Edward Redfield are noted for their bold application of paint and vibrant color. Redfield painted en plein air, directly from nature rather than in a studio. He built a heavy impasto, "in one go" or in one session, usually outdoors, often under brutal winter weather conditions, roping the backs of his often huge canvases to trees, so that they would not blow away in the wind. He became regarded as the leading 20th century American painter of winter, winning more awards than any other American painter, with the exception of John Singer Sargent. His works were exhibited nationwide, and twenty-seven of them were featured at the Panama-Pacific International Exposition (1915) in San Francisco, an important venue for artists of the time.

Sedrick Ervin Huckaby (1975) is an American artist known for his use of thick, impasto paint to create murals that evoke traditional quilts and his production of large portraits that represent his personal history through images of family members and neighbors. Huckaby has worked with images from quilts for many years, moving them from background components of portraits into the subject of his work. He was interviewed about his quilt-influenced abstract work in a podcast for Painters Table. His work is on display at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Museum of Fine arts in Boston, the Minneapolis Institute of Art, The Art Institute of Chicago, and the Nasher Museum of Art at Duke University.

Jin's works deal with geometric structure of light, space and plane; color patches are used in layers to create the depth of viewing. Looking from the distance, those color compositions, abstractly displayed with randomness in flow, deliver a vivid image of objects depicted by the artist. Jin plays humorously with space and time to trigger a new way to see oil painting. Noted that, his works, Color Movement Series, conveys strongly a sense of surrealism and romanticism; melody from the heart is sung by the artist's interpretation of impermanence in nature and in life, and resemble in some way works by Nicolas de Staël, a painter known for his use of a thick impasto and his highly abstract landscape painting; Jing's formation of structure may be associated with Serge Poliakoff.

According to a doctoral thesis in 1991, van Gogh used in his impasto technique lead pigments in an abusive and careless way, and some months later he suffered the key symptoms of lead poisoning (anemia, stomatitis, abdominal pain, signs of radial neuropathy, etc.) and other characteristics of saturnine encephalopathy in Arles with states of delirium and probable epileptic crises, which were diagnosed in life. Regardless of the premorbid personality of Vincent (impulsive and emotionally unstable), these crises with disturbance of consciousness or psychotic symptoms coincided with his prolific artistic activity, and never in the North; as the Dutch painter says in a letter (Letter 607). Other painters exposed to toxic colors suffered lead poisoning. However, this thesis could be confirmed only by a forensic examination of the bones of Van Gogh, as Caravaggio's remains were.

From the second half of the 1980s the abstract drawings, which could partly be read as rudimentary writing, were etched on thick impasto layers of paint. This technique resulted in pictures with graphic entanglements and lines above the color ground (see work group of splitted images on a box-like deep canvas, 1994). In addition, he also made realistic sculptural works in bronze, which integrated not only the human figure, but also books (see Babel, 1985). On the monument for the Hungarian poet Miklós Radnóti, Lakner shows his inner impressions and feelings, created by the poems, on the surface of an imaginary book, which is cast in bronze. The scripture on the tombstone of John Keats, the romantic English poet, ‘Here lies one whose name is writ in water’, inspired Lakner's painting, Keats' grave.

He wrote to his friend, Théodore Duret, that "my painting doesn't catch on, not at all ..." Pissarro met the Paris art dealer Paul Durand-Ruel, in London, who became the dealer who helped sell his art for most of his life. Durand-Ruel put him in touch with Monet who was likewise in London during this period. They both viewed the work of British landscape artists John Constable and J. M. W. Turner, which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere, an effect that they felt could not be achieved in the studio alone. Pissarro's paintings also began to take on a more spontaneous look, with loosely blended brushstrokes and areas of impasto, giving more depth to the work.

In the late 1950s, having internalized the ideas of the Plasticiens, she abandoned the confines of geometric works and began studying the ideas of Zen and Confucius; these ideas began to translate into her paintings characterized by lines and strokes in black and white. She was also struck by the work of the Abstract Expressionists in New York and in particular, impressed by the work of Franz Kline. Many of these elements and themes would be revisited in the works that soon followed, increasing in gestural quality and characterized with heavy impasto with a palette knife or spatula. Her production began to increase and Letendre began to come into her own, winning first prize in the Concours de la Jeune Peinture in 1959 and the Prix Rodolphe-de-Repentigny in 1960.

19 De Staël's work was quickly recognized within the post-war art world, and he became one of the most influential artists of the 1950s. However, he moved away from abstraction in his later paintings, seeking a more "French" lyrical style, returning to representation (seascapes, footballers, jazz musicians, seagulls) at the end of his life. His return to imagery during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters made a similar move; returning to imagery during the mid-1950s. His painting style is characterized by a thick impasto showing traces of the brush and the palette knife, and by a division of the canvas into numerous zones of color (especially blues, reds and whites).

Claude Vignon, Saint Luke the Evangelist at Christie's In the mid 1620s he vacillated between various styles, in some paintings showing a more Caravaggist bent such as in the Christ among the doctors (1623, Museum of Grenoble) or the Vision of St Jerome (1616, Nationalmuseum, Stockholm). Other works are more reserved, while some have a clear Baroque vigor such as the Triumph of St Ignatius (1628, Musée des Beaux-Arts d'Orléans). A pivotal work from this period is the Solomon and the Queen of Sheba (1624, Louvre), which displays his taste for the exotic and for theatrical arrangements and uses a thick, encrusted impasto, shot through with golden highlights and an unusual combination of colours. Pregnant young woman begging justice from a warrior In the period 1630-1640 when the artist worked in Paris his palette became richer.

Goodell worked in oils, watercolor and pastels. While his broken brushwork and interest in light effects reflected the influence of impressionism, he was equally if not more concerned with pictorial design. His easel paintings were bold both in scale and technique and his compositions dynamic, typically combining vigorous diagonal angles and a lofty perspective. Use of impasto, the palette knife, and boldly outlined figures and objects were techniques that contributed to a rugged representational style.“Always a vigorous painter, Goodell seems at his best when his canvas is large,” an art review from an unidentified newspaper clipping, Estate of W.N. Goodell Goodell favored full length figure paintings, sometimes in a plein aire setting (Pastoral, Jimmie Reading), in addition to still lifes, landscapes, and subjects with an element of humor or social commentary (Isolationist, Liberty and the Pursuit of Happiness).

While her representation of the figure is often almost perfectly photographic in its depiction, she blurs and fuses layers of space to create immersive abstraction that feels uniquely intimate and provocative; she often includes the use of glass, clear vinyl, water, steam, and shallow spaces to distinguish a nearly invisible line between the foreground and backgrounds of her pieces. Monks’ most famous pieces come from her decade-long water series, where these elements are the most prevalent and recognizable. Monk's compositions also exhibit a quality of tension because of the way she of her use of the impasto technique. However, this specificity and photorealistic detail would not last. On October 8, 2011, Monks’ mother was diagnosed with lung cancer that had spread throughout the rest of her body, succumbing to it a year and three weeks after her diagnosis on October 26, 2012.

Retrieved 15 July 2016. For example, in the painting Final Domestic Expose – I paint Myself (1981–1982), held in the collection of the Auckland Art Gallery Toi o Tāmaki, Fahey is shown calmly contemplating the viewer whilst surrounded by a maelstrom of children, food, washing, cosmetics, and other objects associated with family life."Final Domestic Expose – I paint Myself", Auckland Art Gallery Toi o Tāmaki. Retrieved 15 July 2016. Fahey often uses an impasto style of painting, where the paint is applied thickly and her brushstrokes are clearly evident to the viewer. For example, see the texture of the paint in "Fraser sees me, I see myself" from 1975, now in the collection of the Museum of New Zealand Te Papa Tongarewa. Here, Fahey does not disguise the materiality of the paint, but allows it to sit in thick layers on the canvas.

NPG, section (= room) I, Tate, Man with Thistle From the 1950s, he began to focus on portraiture, often nudes (though his first full length nude was not painted until 1966),NPG, II to the almost complete exclusion of everything else, and by the middle of the decade developed a much more free style using large hog's-hair brushes, concentrating on the texture and colour of flesh, and much thicker paint, including impasto. Girl with a White Dog, 1951–1952, (Tate) is an example of a transitional work in this process, sharing many characteristics with paintings before and after it, with relatively tight brushwork and a middling size and viewpoint. He would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable. He also started to paint standing up, which continued until old age, when he switched to a high chair.

Antony and Cleopatra, 1982 Gillian Ayres' early works are typically made with thin vinyl paint in a limited number of colours arranged in relatively simple forms, but later works in oil paint are more exuberant and very colourful, with a thick impasto being used. One of Ayres' early projects was a 1957 commission by architect Michael Greenwood to decorate the South Hampstead high school dining hall in north London. The murals, described as "the only true British contribution to American abstract expressionism", were quickly covered over with wallpaper before being rediscovered in 1983 in nearly perfect condition. The titles of her paintings, such as Anthony and Cleopatra (1982), A Midsummer Night (1990) and Gyre and Gimble (2013), were usually given after the painting is completed and do not directly describe the content of the painting, but rather are intended to resonate with the general mood of the work.

The process of painting is integral to Swartz's art making process and to the creation of her multiple series of works. Her expressionist paintings are rich with texture built with layers of thin acrylic washes, impasto text, and collaged paper. Her art practice has been guided by various aesthetic inspirations, such as the Rothko Chapel in Houston, Wassily Kandinsky’s Concerning the Spiritual in Art, John Marin’s seascapes, and Robert Smithson’s Spiral Jetty. Moreover, the Betty Friedan’s The Feminine Mystique and Carol Christ’s Diving Deep and Surfacing: Women Writers on Spiritual Quests influenced Swartz’s incorporation of feminist discourse to explore the historical context of female empowerment, such as in her Israel Revisited series. According to Swartz, she uses words and visual elements from various religious and philosophical systems (Native American Healing practices, Buddhism, Jewish Mysticism, Christianity) “in order to facilitate communication with viewers on both the conscious and unconscious level.

David Bolduc (1945–2010) was an abstract artist who used colour and central imagery in his paintings, inspired by artists such as Jack Bush. Critics suggest that he and artists such as Daniel Solomon formed a bridge between the second and third generations of Toronto modernists or even form part of the third generation of Toronto abstract painters which includes artists such as Alex Cameron and Paul Sloggett. Bolduc`s signature as a painter was a main motif articulated in impasto colour drawn directly from the tube on top of a stained background. Bolduc once said that for him the "vertical member – a figure, a tree, a stamen, a column, a mast, a pylon, a stele, a stack of colours, a line of organizational force, an armature upon which the rest of the painting was wound – began as the hands of a watch, both of them pointing straight upward to midnight".

New York: Robert Miller, 1991. pg.4Wagner, Anne M. "Lee Krasner as L.K.", Representations, No. 25 (Winter, 1989): 42-57. JSTOR. pg. 44 Her hieroglyph paintings are gridded and look like an unreadable, personal script of Krasner's creation. These works demonstrate her anti-figurative concerns, allover approach to the canvas, gestural brushwork, and disregard of naturalistic color.Kleeblatt and Brown. 2014. pg. 14 They have little variation of hue but are very rich in texture due to the buildup of impasto and also suggest space continuing beyond the canvas.Kleeblatt and Brown. 2014. pg. 19Tucker. 1973. pg. 9 These are considered her first successful images that she created while working from her own imagination rather than a model.Rose. 1983. pg. 54 The relatively small scale of the images can be attributed to the fact she painted them on an easel in her small studio space in an upstairs bedroom at The Springs.

According to John Yau, these early paintings were "planes of luminous color inhabited by geometric forms, which seem to have been scooped out." Yau may have made use of the words "scooped out" because Prangenberg was using an impasto technique, applying the paint in a thick manner that allowed the surfaces to be cut into. By the 1990s, Prangenberg was also working with sculpture. Annegret Laabs, writing in 2008 in the artist's monograph, "Norbert Prangenberg: Venustas et Fortuna," explained: “Up to the mid-1990s, the focus of his ceramic works was to be found in large, bulbous, hollow forms, usually lying on their side, which were characterized by the independent movement of the glass flux that surrounds the terracotta when it is fired, and which ultimately merges light and darkness, the visible and the imaginary, or, indeed, keeps them apart.” However, after the mid-1990s, Pragnenberg rotates these large scale, monumental sculptures so that they are standing, mimicking a standing human body.

Benefits Supervisor Sleeping, 1995, a very large portrait of "Big Sue" Tilley, showing his handling of flesh tones, and a typical high viewpoint Freud painted fellow artists, including Frank Auerbach and Francis Bacon and produced a large number of portraits of the performance artist Leigh Bowery, and also painted Henrietta Moraes, a muse to many Soho artists. A series of huge nude portraits from the mid-1990s depicted the very large Sue Tilley, or "Big Sue", some using her job title of "Benefits Supervisor" in the title of the painting,NPG, 33; Etching, Tate as in his 1995 portrait Benefits Supervisor Sleeping, which in May 2008 was sold by Christie's in New York for $33.6 million, setting a world record auction price for a living artist.Lucian Freud: From "Ingres of Existentialism" to Impasto Master BLOUINARTINFO.COM Freud's most consistent model in his later years was his studio assistant and friend David Dawson, the subject of his final, unfinished work.

The globe is turned toward the Indian Ocean, where the Dutch East India Company was then active. Vermeer used an impasto technique to apply pointillé dots, not to indicate light reflected more strongly on certain points but to emphasize the dull ochre cartouche "frame" printed on the globe. Since the globe can be identified, we know the decorative cartouche includes a plea for information for future editions-- reflecting the theme of revelation in the painting. Vermeer's possible model, Anthonie van Leeuwenhoek, painted two decades later by Jan Verkolje The cartographic objects surrounding the man are some of the actual items a geographer would have: the globe, the dividers the man holds, a cross-staff (hung on the center post of the window), used to measure the angle of celestial objects like the sun or stars, and the chart the man is using, which (according to one scholar, James A. Welu) appears to be a nautical chart on vellum.

Clyfford Still, 1957-D No. 1, 1957, oil on canvas, 113 × 159 in, Albright–Knox Art Gallery, Buffalo, New York Still is considered one of the foremost Color Field painters – his non-figurative paintings are non-objective, and largely concerned with juxtaposing different colors and surfaces in a variety of formations. Unlike Mark Rothko or Barnett Newman, who organized their colors in a relatively simple way (Rothko in the form of nebulous rectangles, Newman in thin lines on vast fields of color), Still's arrangements are less regular. His jagged flashes of color give the impression that one layer of color has been "torn" off the painting, revealing the colors underneath. Another point of departure with Newman and Rothko is the way the paint is laid on the canvas; while Rothko and Newman used fairly flat colors and relatively thin paint, Still uses a thick impasto, causing subtle variety and shades that shimmer across the painting surfaces.

Regarding a two- person exhibition at Jefferson Place Gallery, held two years later, the Washington Post critic said Herzbrun's work showed integrity and was "unchanged and uninfluenced by the new little 'isms' that sweep the art world each season." She stressed the confidence with which Herzbrun remained committed to her painterly approach with its fresh, clear color and "strong slashing brush strokes" and noted her ability to "create a world of her own" and make it work. Regarding a solo show a few years later a critic for the Washington Star admired the joyful spirit of Herzbrun's abstract landscapes and saw in them "the broad strokes of totally confident painting echoing the ancient simplicities of fold, fallow and field." Commenting on this show, another critic stressed her technique, saying that Herzbrun produced a fresh surface of bright colors using "matte finish, glazes, impasto areas and delicate lines" all on the same canvas without sacrificing unity.

A large portion of Elaine de Kooning's work was in portraiture. In addition to painting many self-portraits throughout the course of her life, her subjects were often fellow artists—usually men—including poets Frank O'Hara, John Ashbery, and Allen Ginsberg; writer Donald Barthelme; art critic Harold Rosenberg; Thomas B. Hess, managing editor of Artnews; choreographer Merce Cunningham; legendary art dealer Leo Castelli; innovative jazz musician Ornette Coleman; the famous Brazilian soccer star Pele; and painters Fairfield Porter, Alex Katz and her husband, Willem de Kooning. Although she worked in a gestural Abstract Expressionist mode, she never abandoned working with the figure ensuring the person's likeness. Elaine employed a wide range of virtuosic drawing and painting techniques: finely detailed pencil drawings and more free ink drawings, crosshatching, erasure, stumping, and improvisational graphic lines, thin paint and impasto, “thin, dripping washes of bold color…” with many media: pencil, ink, charcoal, gouache, collage, mixed media, oil on paper, canvas and masonite.

After 1918 the style of his still lifes becomes more impressionistic, the technique more painterly and using a great deal of impasto, and usually depict roses in Chinese vases from the former collection of J. Pierpont Morgan that he copied at the galleries of Duveen Brothers in New York (Duveen's exhibited the Morgan collection in 1919) and elsewhere, and sometimes including depictions of other works of art like bronze or biscuit porcelain statuettes, Chinese porcelain Buddhas, Italian maiolica plates and so on. It is known he was an admirer of Claude Monet and others, as he told the German Kaiser – who hated the Impressionists – in 1909 that the Impressionists had "done a great deal to awaken modern art."New York American, November 28, 1909, Part II Main Sheet, p. 1. The roses were claimed by the soprano Jessica Dragonette in her autobiography to be the varieties American Beauty (red), La France (pink), Belle of Portugal (pale pink), Claudius, Killarney (rose pink), and Boucher-Pierné, but there were others.

His early work in Dublin, where he used a thin paint surface, has a tense, spare, more-real- than-real quality. In London he became more expressive in his use of paint, applying thick layers of paint, using the brush more and "modelling" the paint surface. In the Algarve he continues this trend into a heavy, broken impasto and some of his later work verges on becoming abstract. His work comprises portraits, "tree portraits" (trees held a special fascination for SwiftJohn McGahern (Swift drew his portrait in London in 1960) noted that he was fond of the line "those particular trees/ that caught you in their mysteries": "It was he who first told me how well Constable wrote in letters about trees, especially the plane trees, with their peeled strips of bark — ‘They soak up the polluted air' — and he quoted a favourite line, 'those particular trees/ that caught you in their mysteries’, mentioning that he preferred trees to flowers" ("The Bird Swift", Love Of The World, John McGahern, Edited by Stanley van der Ziel, Faber & Faber, 2009).

On his return to Italy he turned to Divisionism, applying the new technique according to the example of Giovanni Segantini. After his first showing, at the Third Triennale of Brera in 1897 with the painting Il filo spezzato (The Broken Thread), he opened a studio in Milan, where he produced numerous paintings in the divisionist style, including La lavandaia (The Washerwoman), Fanciulla che guarda dalla finestra (Girl looking out the window) and Mestizia crepuscolare (Twilight Sorrow). He took part in numerous exhibitions in Italy and abroad, and, after gradually abandoning Divisionism, arrived at the Venice of 1907 with the painting Preludio di primavera (Prelude to Spring), making extensive use of impasto and retaining the luminosity of his earliest works, but with the addition of a melancholy lyricism typical of Neo-impressionism, often entrusted to compositions of broad and powerful scope as in paintings Ritorno all’alpe (Return to the mountain pasture) and Toceno al tramonto (Toceno at sunset). At the outbreak of the Great War, Ciolina left Milan and retired to Valle Vigezzo, where he continued to paint landscapes, still lifes and religious frescoes until his death.

This change occurs in works that are done quickly and with great urgency, which increase in number, including landscapes and marine pieces such as Rocks and Water, La Cride, 1938, and some of his portraits, such as Evangeline, 1942. But it may also be observed in drawings such as South Wellfleet Inn, and Roses, both 1939, and in his larger studio paintings, where blurred areas are combined with more resolved details, as in the 40 × 50 inch Stranded Brig, 1934, and the large Composition with Still Life, 1933–37. Over time, Dickinson's small paintings and drawings tended to converge in style. Premier coup paintings evolve from early works with forms constructed in thick impasto to later ones with a generally thinner use of paint and hazier forms, but he continued the practice of building forms in paint patches rather than first drawing contours. By contrast, Dickinson's early drawings rely on firm contours and subtly nuanced shading to define clearly articulated forms, a style that gains greater economy and power from his study in Paris, as seen in Nude (Standing Nude, Hips and Legs), 1920, and in Esther Hill Sawyer, 1931, and then softens in the drawings of the 1930s (Nude #3, 1936).

From 1945, in Hofheim am Taunus, the numerous works of the so-called "Hecate Period" were created. These works mark a new stage of development in the field of tension between figurative motifs that are still recognizable and their almost entirely abstract design in Nay's work, which reflects both the tragedy of the recent past and the burgeoning hopes of those first years after the war, the term "Hecate imagery" coined Ernst Gosebruch (1872-1953) with reference to Nay's "Daughter of Hecate "I (1945, WV 337), of which Nay also made a second, smaller version (1946, WV 366)." Significantly, there is a daughter of the Hecate - a sorceress from the pre-Greek cults, moon goddess and goddess of death - in Greek Mythology is not This is an alienation or invention of Nay, as well as the titles in general from this work period, in which often ancient or bibl It is also striking that Nay's style of painting has changed at the same time: painting becomes impasto, and Nay now chooses one of many images much darker palette. In retrospect, Nay himself writes about these works: "Once again very strong formal ideas came to light that combined with mythical-magical ones.