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In the early 1970s Allen was involved with Bridget Riley and Peter Sedgley's artist cooperative at the Match Shed in London. In 1970 his large two colour stripe acrylic Op art paintings on canvas were installed at the Match Shed in London (Images from Richard Allen's website) and he had a one-man show at Angela Flowers in 1971.
Acrylic, oilstick, and spray paint on canvas 68 x 102 in N/A The Broad museum 1982 Hannibal: Acrylic, oilstick and paper collage on canvas with wooden supports 60 x 60 in $13.1 million (2016) [84] Private collection 1982 Palm Springs Jump: Acrylic, oilstick and gold paint on canvas 72 x 84 in $12.8 million (2008) [85] Private collection 1982 ...
Staining acrylic paint into the fabric of cotton duck canvas was more benign and less damaging to the fabric of the canvas than the use of oil paint. In 1970 artist Helen Frankenthaler commented about her use of staining: When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself ...
The painting series was unveiled at the Solomon R. Guggenheim Museum in 1966, in an exhibition titled The Stations of the Cross: Lema Sabachthani. [5] [6] [7]The National Gallery of Art bought the paintings in 1987 from Newman's widow for an estimated $5 to $7 million, through a donation from Robert and Jane Meyerhoff.
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.
Robert Motherwell, Gray Open with White Paint, 1981, soft-ground etching and pochoir on gray Auvergne à la Main handmade paper, 20¼ × 26¼ in. In 1967 Motherwell began to work on his Open series. Inspired by a chance juxtaposition of a large and small canvas, the Open paintings occupied Motherwell for nearly two decades.
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