They are painted in oil-based acrylics stained into unprimed canvas.
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The primed pumpkin serves as a hat, the unprimed-pumpkin serves as a face.
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Mr. Gilliam, too, soaked and stained unprimed canvas with pools of thinned-down acrylic pigment.
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Largely derived by chance, Frankenthaler was known for her technique of spilling paints onto unprimed canvases from an overhead position.
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The rings float on either a field of unprimed canvas or, in the later works, on a luminously painted background.
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Among the Washington Color School painters' main techniques was applying paint directly to unprimed canvas; the effect creates stains of intense color.
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Applying acrylic paints and resins directly onto unprimed canvases allowed Frankthaler to mimic the watercolor process, but reduced the margin of error.
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He worked on unprimed, unbleached linen and mulberry paper — varied brown, absorbent surfaces whose fibers are visible in the former and vulnerable in the latter.
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These colors, some vibrant but mostly subdued, feel as if they've had years to settle into the paintings, especially when they are at interplay with unprimed canvas.
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You can get it primed or unprimed if you prefer to do it yourself with a giant bucket of gesso or if you just want a raw canvas.
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Painted on the floor with thin washes of color, which have been poured and brushed onto the unprimed, stretched canvas, Duran's paintings do not look like anyone else's work.
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Inspired by their boldness, as well as by the slow, visceral nature of thick paint, Clark began to use a broom to push acrylic across unprimed canvas, which has been laid on the floor.
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I starting applying layers of pure powdered black pigment on unstretched, unprimed canvas on the ground to engage with the dialogues around "flatness" then exemplified by the soak-staining methods of the Color Field painters.
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Diluting her paints to the fine consistency of watercolors, she applied the liquid to unprimed canvas, laid on the floor, so that it soaked through in broadly spreading stains, creating opalescent veils of color, bright yet soft, not quite like anything seen before.
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I want to talk to Wilson about his works in the booth — mind-blowingly intricate glass pieces, flag symbols on unprimed canvas, and more — but for five minutes I've been watching him sit down and attempt to eat a salad, only to be interrupted by someone who wants to say hello.
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As the corpus luteum can no longer release progesterone, the uterus remains unprimed for embryo implantation, and the pregnancy fails.
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Rose Wylie (born 14 October 1934) is a British painter. She is an artist known for creating large paintings on unprimed canvas.
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He primed Taubes' canvas and ground his paint. Norman, an artist himself, was having trouble finding unprimed linen. Harold suggested they import it from Belgium. That was the start of Utrecht Art Supplies.
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Retrieved November 26, 2018.—working on unprimed canvas with a variety of paints, nontraditional materials, and at times, a painting's stretchers to create unexpected surfaces, textures, reliefs, and patterns (sometimes referencing the Modernist grid).
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Box of Hornady .50 AE 300-grain jacketed hollow point ammunition SAAMI specifies a maximum chamber pressure of 36,000 psi (248 MPa) for the .50 AE. Available factory loads can produce nearly 1,800 ft·lbf (2440 J) of muzzle energy. New, unprimed brass is available from Starline.
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Landscape was the primary influence on her subject matter. She painted on unprimed canvas or white ground with gestural, sometimes violent brushwork. She has described a painting as "an organism that turns in space"."Joan Mitchell", with Cora Cohen and Betsy Sussler, Bomb magazine, 17/Fall 1986. Retrieved October 24, 2012.
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He used Magna paint an oil based acrylic paint. Magna was originally developed by the paintmakers Leonard Bocour and Sam Golden for and also used by Morris Louis. Dzubas would apply thick layers of color over washes, scrubbing the paint into the unprimed canvas. Dzubas used staining, brushing and other ways of applying color.
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Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the timeNational Museum of Women in the Arts: "The Cage". Retrieved November 24, 2014.—and her brushwork became looser. In 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form.
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In animal studies, Schizonepeta tenuifolia extracts in high doses exhibit immunomodulation of the inflammatory response by regulating cytokine release, specifically the release of Th1 and Th2 cytokines from T cells as well as the unprimed CD4 T cells from differentiating into Th1 and Th2 cells. Schizonepeta also interrupts histamine release from mast cells to inhibit allergic reactions in rats.
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On the other, they suggest complicated theories, ideas and emotions.” He also suggests that Feeley’s forms are biomorphic, suggestive of “tiny living things greatly magnified.” Donald Judd reviewed a Paul Feeley show at Betty Parsons Gallery in 1962. Judd noted how Feeley had improved his canvas staining technique: “Also, as before, both bright colors are stained into unprimed canvas.
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It was created while Klee was teaching at the Dusseldorf Academy following his trip to Egypt three years prior. The painting process consisted of first applying large squares of muted color on unprimed canvas. Klee then stamped on smaller squares, first in white and then in other diluted colors. The composition is dominated by the shape of a pyramid outlined with stamped lines.
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At the peak of his fame, Pollock abruptly abandoned the drip style. Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings have been referred to as his 'Black pourings' and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold one to a friend at half the price.
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With the red and green picture, I think I just sensed the shape of the canvas as an event, as against the notion of the canvas creating an arena for events.” At this point, his focus shifts away from paintings that project themselves onto their viewers and towards paintings that bring you in. By 1960, Feeley was known for his use of unprimed canvas.
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Buck, 16–17. Holbein painted most of his portraits during his two periods in England. In the first, between 1526 and 1528, he used the technique of Jean Clouet for his preliminary studies, combining black and coloured chalks on unprimed paper. In the second, from 1532 to his death, he drew on smaller sheets of pink-primed paper, adding pen and brushwork in ink to the chalk.Parker, 24–29; Foister, 103.
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Unprimed letters like t or v indicate object space and primed letters like t′ or v′ indicate image space. Intermediate spaces are indicated by additional primes such as r″, z″, or q″. The same letter is used to indicate points or distances that share a conjugate relationship. The only exception is the use of F and F′ to indicate respectively object and image space focal points (which are not conjugate).
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In reality, the frames are not related by a Galilean transformation, but by a Lorentz transformation. Nevertheless, it will be a Galilean transformation to a very good approximation, at velocities much less than the speed of light. Unprimed quantities correspond to the rest frame of the magnet, while primed quantities correspond to the rest frame of the conductor. Let v be the velocity of the conductor, as seen from the magnet frame.
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Purple Chairs, 2014 Oil on Canvas 48" x 75” Cacti Forever, 2016, Acrylic and Oil on Canvas,58" x 69” Homage to Hokusai. 2019,Acrylic on Canvas, 59” x 73 Thompson uses both the traditional method of oil and canvas, but beginning in 2017 began experimenting with acrylics on unprimed canvas. She paints on the floor and allows the "accidents" created by pouring paint directly on the canvas dictate the eventual subject and composition of the work.
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German made unprimed cases with their packaging box displaying the C.I.P. 8 × 57 IS cartridge designation. The mainly European arms standards body Commission Internationale Permanente pour l'Epreuve des Armes à Feu Portatives (Permanent International Commission for portable firearms testing) (C.I.P.)—an organisation for standards in ammunition for civilian use—currently (2012) designates the 7.92×57mm Mauser as the 8 × 57 IS. This designation has the power of law for civil use in C.I.P. member states like the United Kingdom.
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Passing Through is a collection of small oil on linen paintings, grouped in series. This exhibit was at the David Kaye Gallery in April of 2017. Each image is blurry with movement, with cool blues, greens and greys dominating the frame as highlights of orange add interest to certain frames in the series. Anweiler does not fill the frame with her images, allowing the unprimed linen to act like an impromptu frame. The content is derived from a visit to St. John’s, Newfoundland.
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The group was a "jolly, refined, interesting and artistic set of people...like one large family." There Hassam recalled, "I spent some of my pleasantest summers...(and) where I met the best people in the country." Hassam's subjects for his paintings included Thaxter's flower garden, the rocky landscape, and some interior scenes rendered with his most impressionistic brush strokes to date. In Impressionist fashion, he applied his colors "perfectly clear out of the tube" to unprimed canvas without pre-mixing.
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Her work could also be considered pop-surrealism as noted by Graham Shearing in his review of the 1998 exhibition "Revelations: New Jewelry" by members of the Society of North American Goldsmiths (SNAG). Her contribution was a piece called Katella. At times Schick used unprimed canvas to allow the light color washes to permeate the fabric, such as in the piece Brick Street, a homage to Pittsburg, Kansas. On others, she used heavy coats of gesso to build form and texture before painting the surfaces.
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She was born in Kent on 14 October 1934. Wylie studied at the Dover School of Art from 1952 to 1956 and later graduated from the Royal College of Art with an MA, in 1981. She lives and works in her Kent cottage, producing extremely large paintings on unstretched, unprimed canvas, in her signature loose, spontaneous style. Wylie was one of the seven finalists for the 2009 Threadneedle Prize, and one of the winners of the 2011 Paul Hamlyn Foundation Prize for Visual Arts.
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All of the Color Field artists were concerned with the classic problems of pictorial space and the flatness of the picture plane. In 1953, Louis and Noland visited Helen Frankenthaler's New York studio, where they saw and were greatly impressed by her stain paintings, especially Mountains and Sea (1952). Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application. Louis characteristically applied extremely diluted, thinned paint to an unprimed, unstretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils.
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Irving Petlin (December 17, 1934 – September 1, 2018) was an American artist and painter renowned for his mastery of the pastel medium and collaborations with other artists (including Mark di Suvero and Leon Golub) and for his work in the "series form"Palmer, Michael. Active Boundaries: Selected Essays and Talks. New York: New Directions Publishing, 2008. p. 164 in which he employed the raw materials of pastel, oil paint and unprimed linen, and found inspiration in the work of writers and poets including Primo Levi, Bruno Schulz, Paul Celan, Michael Palmer and Edmond Jabès.
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"Art NYC: Gallery - Museum - Dealer Search Results" Search results Often described as a "painter's painter", Utterback was a contemporary abstract artist and an integral part of the Houston art community for more than thirty years. Utterback's body of work varied from monochromatic planes emphasizing surface and light, to deconstructed, three- dimensional reliefs in which paint and plaster were layered directly upon the wooden substrate of the canvas. Drawing played a more dominant role in his later work, and he explored line and gesture by painting on unprimed canvas.
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Frankenthaler often painted onto unprimed canvas with oil paints that she heavily diluted with turpentine, a technique that she named "soak stain." This allowed for the colors to soak directly into the canvas, creating a liquefied, translucent effect that strongly resembled watercolor. Soak stain was also said to be the ultimate fusing of image and canvas, drawing attention to the flatness of the painting itself. The major disadvantage of this method, however, is that the oil in the paints will eventually cause the canvas to discolor and rot away.
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These colors were often applied on an unprimed airframe; because of this and the poor adhesion of Japanese paints in the later years of the war this scheme often weathered quickly, with large patches of natural metal being visible (see photo of 85 Hiko-Sentai Ki-84 on a Korean base). S10 – The upper surfaces were left in a red/brown primer with the under surfaces in natural metal. The black anti-glare panel was optional. Other schemes were applied, particularly by the Shinbu-Tai "Special Attack" units.
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Joan Miró was one of the first and most successful stain painters. Although staining in oil was considered dangerous to cotton canvas in the long run, Miró's example during the 1920s, 1930s and 1940s was an inspiration and an influence on the younger generation. One of the reasons for the success of the Color Field movement was the technique of staining. Artists would mix and dilute their paint in buckets or coffee cans making a fluid liquid and then they would pour it into raw unprimed canvas, generally cotton duck.
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In 1991, Amer's Cinq Femmes Au Travail embroidery stitching techniques to show women performing tasks that had been advertised for women in magazines—childcare, house cleaning, and cooking. The quadriptych is constructed as neatly stitched line drawings on unprimed canvases. This was a turning point for Amer because by using embroidery and gel on canvas as her medium, she was developing her own feminine language of painting. Cinq Femmes Au Travail begins a series of narrative works that present women performing daily chores or quotidian activities, demonstrating Amer's continued interest in the themes of “bored women” as she characterizes it.
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Albrecht's early work, during art school and the years immediately following, was figurative: 'the protagonist always a woman, and the woman was often nude'. Albrecht's work in the 1960s was also more autobiographical than any later painting. In the early 1970s Albrecht turned away from the human form and began looking at the landscape, her garden, and arranging natural objects on coloured backgrounds. From 1970 she also began to use thinned acrylic rather than oil on canvas, which allowed her to paint more freely, and unprimed canvases that allowed the pigment to soak into the raw fabric, mimicking the watercolour work she enjoyed.
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This compelled him to paint on the raw, unprimed side of his previous work, a practice he kept throughout his life. In 1948, Painting (1946) sold to Alfred Barr for the Museum of Modern Art (MoMA) in New York for £240. Bacon wrote to Sutherland asking that he apply fixative to the patches of pastel on Painting (1946) before it was shipped to New York. (The work is now too fragile to be moved from MoMA for exhibition elsewhere.) At least one visit to Paris in 1946 brought Bacon into more immediate contact with French postwar painting and with Left Bank ideas such as Existentialism.
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The ERPs of the target words showed, as expected, larger N400s when the targets were presented after semantically unrelated sentences compared to those after semantically related sentences. As when preceded by the sentences, the target words also elicited larger N400s when presented after an unrelated musical excerpt compared to when presented after a related excerpt. In both, language and music, both concrete and abstract target words elicited significant N400 effects. The N400 effect (that means, the effect of unprimed versus primed target words) did not differ between the language domain (sentences followed by target words) and the music domain (musical excerpts followed by target words), concerning amplitude, latency or scalp distribution.
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His work includes several large abstract paintings created by staining raw, unprimed canvas with thinned paint, allowing the colors to soak directly into the weave of the canvas. He was represented by and exhibited at the Knoedler & Co. Gallery in New York City from 1979 to 1986 and was named New Talent Graphic artist of the year in 1963 by Art in America on the recommendation of MoMA curators Dorothy Miller and William S. Lieberman. In 1979 he was awarded a Guggenheim fellowshipA Math Professor Wins Art Fellowship; INTERVIEW, New York Times, May 29, 1979, at NJ24. and in 1982 he received a New Jersey Council on the Arts Award.
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A traditional and flexible chalk gesso is composed of lead carbonate and linseed oil, applied over a rabbit skin glue ground; a variation using titanium white pigment and calcium carbonate is rather brittle and susceptible to cracking. As lead-based paint is poisonous, care has to be taken in using it. Various alternative and more flexible canvas primers are commercially available, the most popular being a synthetic latex paint composed of titanium dioxide and calcium carbonate, bound with a thermo-plastic emulsion. Many artists have painted onto unprimed canvas, such as Jackson Pollock, Kenneth Noland, Francis Bacon, Helen Frankenthaler, Dan Christensen, Larry Zox, Ronnie Landfield, Color Field painters, Lyrical Abstractionists and others.
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The family members appear to have similar substrate specificity in vitro, and substrate selection is thought to be regulated in vivo via subcellular localization and docking sites in specific substrates. One consensus phosphorylation site is S/Tp-X-X-S/T, where S/Tp refers to a phospho-serine or phospho-threonine, X refers to any amino acid, and the underlined residues refer to the target site. Thus, this CKI consensus site requires priming by another kinase. CKI also phosphorylates a related unprimed site, which optimally contains a cluster of acidic amino acids N-terminal to the target S/T including an acidic residue at n − 3 and a hydrophobic region C-terminal to the target S/T.
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Autumn Rhythm was made in the fall of 1950 at Pollock's studio in Springs, New York, as part of a group of paintings he first exhibited at the Betty Parsons Gallery in November–December, 1951. Pollock's technique in the painting, like others made during this part of his career, involved working on unprimed canvas laid on the floor of his studio, pouring paint from cans or using sticks, heavily loaded brushes and other implements to control a stream of paint as he dripped and flung it onto the canvas. At 17 feet wide and 8 feet high, Autumn Rhythm is among Pollock's largest pictures. The creation of Autumn Rhythm was partly documented by Hans Namuth, who photographed Pollock at work over several months in 1950.
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He then climbed into a staff car with his aide Werner von Haeften and managed to bluff his way past three checkpoints to exit the complex. Werner von Haeften then tossed the second unprimed bomb into the forest as they made a dash for Rastenburg airfield, reaching it before it could be realised that Stauffenberg could be responsible for the explosion. By 13:00 he was airborne in a Heinkel He 111 arranged by General Eduard Wagner. Hitler's tattered trousers By the time Stauffenberg's aircraft reached Berlin about 16:00,German radio broadcast 10 July 2010 on Deutschlandfunk (MP3; in German)German radio broadcast 10 July 2010 on Bayern1 (written version; in German) General Erich Fellgiebel, an officer at the who was in on the plot, had phoned the Bendlerblock and told the plotters that Hitler had survived the explosion.
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The relations between the primed and unprimed spacetime coordinates are the Lorentz transformations, each coordinate in one frame is a linear function of all the coordinates in the other frame, and the inverse functions are the inverse transformation. Depending on how the frames move relative to each other, and how they are oriented in space relative to each other, other parameters that describe direction, speed, and orientation enter the transformation equations. Transformations describing relative motion with constant (uniform) velocity and without rotation of the space coordinate axes are called boosts, and the relative velocity between the frames is the parameter of the transformation. The other basic type of Lorentz transformation is rotation in the spatial coordinates only, these like boosts are inertial transformations since there is no relative motion, the frames are simply tilted (and not continuously rotating), and in this case quantities defining the rotation are the parameters of the transformation (e.g.
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French gun maker Henri Roux attempted to improve this cartridge in the 1820s but a constantly primed cartridge was felt by many to be too dangerous and many breechloading guns reverted to using an unprimed cartridge. This was fired by a separate percussion cap which was used on the still dominant muzzle-loading guns. Casimir Lefaucheux of Paris decided in 1832FR patent 5183, Casimir Lefaucheux, "fusil se chargeant par la culasse, au moyen d'un mécanisme qui fait basculer le canon", filed 1832-06-16, issued 1833-01-28 to patent a breechloader where the barrel hinged downwards to reveal the breech ends. These still used a separate percussion cap. Though used before this, (as seen in surviving pinfire shotshells that lists the names of early gun makers he signed contracts with in 1833 and 1834,) in 1835FR patent 6348, Casimir Lefaucheux, "fusil se chargeant par la culasse, au moyen d'un mécanisme qui fait basculer le canon", filed 1835-01-08, issued 1835-03-31 he was granted an addition to the 1832 patent for a new type of cartridge in which the cartridge's priming compound is ignited by striking a small pin which protrudes radially from just above the base of the cartridge.
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