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How To Use Impasto In A Sentence

  • Now he added thick daubs of paint to the front of the panels, sometimes to the sides, using heavy impasto and deliberately crude designs.
  • Two large 1957 canvases, All Alone and Body and Soul, each about 3 by 5 feet, are playful images with pink scumbled lines activating the rich off-white, pale blue, brown and gray impasto at the center of the canvases.
  • His paintings had a long gestation and longer execution during which the paint surface was built up by palette knife into a thick impasto.
  • The tapestry cartoons are virtual paintings, executed in opaque gouache on large sheets of thick paper joined together at the edges, and exhibit layering of colors, visible brushwork, and touches of impasto.
  • The text is larded with distracting verbal tics, including a smattering of needless Gallicisms—such as noting that she had problems with her "foie" aka, liver—local color thickened to impasto. The Sound of France
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  • In each, Krahenbuhl runs a dazzling gamut of painterly techniques: glazing, impasto, scumbling, decalcomania, fluid linear strokes and so on.
  • They share a common format: an impastoed yet atmospheric field of black palette-knife strokes is contained by four crisp, unmodulated black margins, 1 1/2 inches wide.
  • These immensely appealing paintings feature vivid colors, slathered impasto and homespun comedy.
  • An earlier work in the series, Main Street, Port Elizabeth, is rendered in thick impasto marks.
  • The landscape background of Elizabeth's portrait in particular is remarkably abstract, using strong colour and thick impasto.
  • As a glutinous medium encaustic is best applied with the palette knife and this gave Johns the opportunity to produce the heavy impastos which he so enjoys.
  • This forms a striking demonstration of that paradox of oil painting whereby the thickest impasto captures the most fleeting highlights.
  • He highlights a silver fish-server with stipples of white impasto.
  • Streaking across the varnished canvases, the reflections reveal tiny cracks, vigorous brushstrokes and traces of impasto, and generate a tension between painterly substance and photographic flatness.
  • In each, Krahenbuhl runs a dazzling gamut of painterly techniques: glazing, impasto, scumbling, decalcomania, fluid linear strokes and so on.
  • Her lush sensuality remains intact, but the unctuous, buttery impasto and singing colour contrast past felicity with present vacancy, and blend lyricism with passionate lament.
  • The heavy impasto of the grove obscures the legibility of trunks and ground.
  • Characteristically he painted in thick impasto, mainly with a palette knife and generally in subdued ochre and umber tones.
  • The common element is colour: he uses layer upon layer of his impasto (oil, gesso and pigment) to create the finished result.
  • These elements are set against a large field in shades of pink, swept with arabesques of grays and dashes of white, sometimes with light impasto in the brushwork.
  • In each, he runs a dazzling gamut of painterly techniques: glazing, impasto, scumbling, decalcomania, fluid linear strokes and so on.
  • His work at this time was vaguely Surrealist, with forms resembling primitive hieroglyphs painted in a heavy impasto.
  • As light strikes the painting at an angle, ridges of impasto reveal moments in the history of its making without disclosing what was buried in the process.
  • But unlike Newman and Rothko, who used fairly flat, unmodulated pigment, Still used heavily loaded, expressively modulated impasto in jagged forms.
  • The landscape background of Elizabeth's portrait in particular is remarkably abstract, using strong colour and thick impasto.
  • Some portraits were painted with brushes first, and then a hard tool was used to blend the skin tones and add texture to the thick wax impasto.
  • This intrusion or invasion into the thick impasto of the declamatory surface is peculiarly poignant and suggestive.
  • In its antihumanism and in its thick impasto, with slices and diagonal blades of dark color making sharp edges à la Clyfford Still, this picture looks forward as well as backward. Return to the Grim and Dark
  • He shrank from the bravura and slashing impasto of his master Rembrandt, and imposed a glassy surface on his paintwork.
  • His most characteristic paintings are in an extremely uninhibited and agitated Expressionist vein, with strident colours and violent brushwork applied with very thick impasto.
  • Here the last vestiges of the figurative, a few delicately poised hands, flowers and shells, are subsumed into patterned and highly coloured surfaces of glazes, scumbles, impasto, sgraffito, stipples, dots and splodges of paint.
  • The artist likes to float between scratchy, airy paintings and thicker, impasto works, such as in some of the paintings of cows.
  • The handling of the paint, with its impasto highlights, has the freeness and immediacy of his earliest work, before he took a more methodical and restrained approach toward brushwork.
  • It is one of a number of still-lifes painted by the artist in the late 1950s and early 1960s, using a similar heavy impasto and depth of colour.
  • The handling of the paint, with its impasto highlights, has the freeness and immediacy of his earliest work, before he took a more methodical and restrained approach toward brushwork.

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