Sentences with phrase «good painting teachers»

Good painting teachers help people realize it's a lifestyle choice with a set of values about what's truly valuable in life.

Acclaimed in 1972 by John Ashbery as one of the best painting teachers in America, Vicente was also described by a longtime friend and former student, Chuck Close, as a «genteel» soul who happened to be «movie star handsome, elegant beyond belief, and an extremely natty dresser.»

Not exact matches

is, I suggest, like asking, why teachers have pupils, statesmen citizens, composers musicians to play their compositions, painters canvasses to paint, friendly persons other persons or animal pets to enjoy; or why people want children as well as adults around them.

Named after the only book by film critic, painter, and teacher Manny Farber — a 1971 collection reprinted in an expanded edition in 1998 — Petit's video wrestles with American landscape and culture, irony, memory, Las Vegas, the beginning of a new millennium, death, desert, film versus video, J.M.W. Turner's painting, several movies (including Howard Hawks's The Big Sleep, Jacques Tourneur's Out of the Past, and Roberto Rossellini's Voyage to Italy), as well as two critics, Farber and Dave Hickey.

Every perceptive teacher sees a diversity of strengths and weaknesses in each of her students: There is the child who loves math but has trouble playing well with classmates, the one who makes friends easily but struggles to stay focused on written tasks, and another who creates beautiful paintings but can't seem to retain much of what she's read.

This guide covers at least 6 week's worth of painting tuition and will help not only the students but also teachers to become better practitioners.

«That's good,» said Ted Andersen, my painting teacher, and then he proceeded to take the wind out of the sails of my high concept.

Painting inside the lines may work in well - situated suburban communities, but it is an enormous hindrance in locales where leaders face a steep climb to aggressively boost teacher quality, tackle ineffective practices, find new efficiencies, or revamp outmoded routines.

Your students need a calm, happy, teacher, one that wants to teach, one that has her lesson plans ready to go... if you're tired and strung out because you were spray painting perfectly good book bins a different color at 2 am, you are not going to be an effective teacher.

Teachers will leave this workshop with a beautiful acrylic painting as well as the means to create their own augmented «escape the room» experience that can be used in all content areas as either a formative or summative assessment.

Of course the nation's teachers unions paint ALEC as a terrible, horrible, no good, very bad organization.

In agreement with Joaquín Sorolla, Stan believes that «the best teacher is the very act of painting».

And Sam Messer was such a good teacher because he understood young people's concerns about what being an artist is, specifically those making paintings, what kind of language of expression they should have, and so on.

Selected for the job were Stuart Comer, formerly a film curator at Tate Modern and now chief curator of media and performance art at the Museum of Modern Art; Anthony Elms, associate curator at the Institute of Contemporary Art, in Philadelphia; and Michelle Grabner, an artist and professor of painting and drawing at the School of the Art Institute of Chicago as well as a teacher at Yale.

Both guests happen to be teachers, and they have much to say regarding the state of painting today, in light of local practice as well as the positive presence of modern masters «haunting» the art fair.

There are hard - edge geometric paintings by Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin called the Abstract Classicists after their 1959 show, as well as influential figurative artists like Rico Lebrun, who was, among other things, a teacher of Baldessari.

As well as creating subtle, tender images of the human figure, Dunstan was a dedicated teacher and author of systematic guides to painting.

Run by Hans Hofmann, whose reputation as an excellent teacher was well - established, the Hofmann School had become a vital space for nurturing and developing the talent and ideas that formed the foundation of abstract expressionism and the New York school of painting.

Lawson may well have been encouraged to come to Colorado Springs by two New York artist - colleagues: Robert Reid, a fellow National Academician and member of The Ten American Painters («The Ten») who taught figure painting at the Broadmoor Academy from 1920 to 1927, and Randall Davey, who taught there from 1925 to 1930 and who preceded Lawson as a teacher at the Kansas City Art Institute.

St. Paul Art Crawl, St. Paul, MN 2003 Best in Show, Children of Eden, St. Cloud Civic Theater, St. Cloud, MN Publicity Winner, St. Paul Art Crawl, St. Paul, MN Purchase Award, Rolling Plains Exhibit, the Plains Art Museum, Fargo, ND 2002 Award of Excellence, Bloomington Art Center, MN Fall 2002 Art Crawl Banner Winner, St Paul Art Collective, St Paul, MN 2001 Publicity / Poster / Postcard Winner, St Paul Art Collective, St Paul, MN Merit Award: Oil Painting Division, Minnesota State Fair, Minneapolis, MN 2000 Second Place Honors, Women Art Registry of Minnesota, Minneapolis, MN First Honors: Oil Painting Division, Minnesota State Fair, Minneapolis, MN Tweed Museum, Purchase, Duluth, MN 1997 Weisman Museum, Purchase Award, U. of M., Minneapolis, MN 1996 Katherine Nash Scholarship, U. of M., Minneapolis, MN Department of Art Endowment, U. of M., Minneapolis, MN 1995 Department of Art Graduate School Fellowship, U. of M., Minneapolis, MN Merit Award: Watercolor Division, Minnesota State Fair, Minneapolis, MN 1994 First Honors: Watercolor Division, Minnesota State Fair, Minneapolis, MN 1991 Outstanding Overall in Show, NY State Teacher's Association Monticello, NY 1989 Honorable Mention, NY State Teacher's Association Conference, Catskills, NY 1986 First Merit Award, Invitational Exhibition and Competition, U. of IN.

Steir remembers the resistance she encountered in her education, «The teacher called me aside and said «It looks like a good painting, but I know you and I know that it's a bad painting.»

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

They included: the Irish - born George Frederick Folingsby (1828 — 91), who arrived in Australia in 1879 and became Master of the School of Painting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashPainting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashpainting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashPainting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 — 1932).

Poet and critic John Ashbery described Vicente as «known and admired as one of the best teachers of painting in America.»

My grandfather was a high school art teacher, my father was a very, very well - respected painter and professor of painting at The University of Vermont, as well as at Cooper Union and at Cleveland Institute of Art.

Born and raised south of San Francisco, Norling hails from a recent generation of artists raised on the fun and gun ethos of graffiti and the mark - making of urban street culture; from stickers to wheat - pasted posters, it is from this street aesthetic; one that is in dialogue with Norling's teacher Raymond Saunders, as well as younger artists such as Barry McGee and the late Margaret Kilgallen, that Norling's paintings, sculptures and installations derive much of their impact.

If Anderson's paintings have contemporary affinities in practices (especially with that of Peter Doig, his former teacher), the theoretical contexts they summon are well - rooted — in particular those teleological forecasts about the relationship between his chosen genres as articulated by critics including Kenneth Clark and Clement Greenberg; the latter wrote, in 1949, of the evolutionary conundrum whereby French painting «was brought to the verge of abstraction in and by its very effort to transcribe visual experience with ever greater fidelity.»

He was the best art teacher of his generation, and the director of the Shinnecock Hills Summer School on Long Island, the first school to offer classes in plein air painting - that is, outdoor landscape painting.

• Track record of instructing students about basic sketching and contouring techniques • Well versed in evaluating students» work, charting their progress, grading assignments and guiding them regarding their weaknesses appropriately • Hands - on experience in curriculum development, lesson planning and implementation with aid of modern and effective AV aids and instructional strategies • Expert in instructing students about working in various modes including pastels, oil colors, water colors, fabric paints, charcoal and pencil • Adept at creating and maintaining a highly stimulating, inspiring and multicultural classroom environment • Proven ability to introduce novel forms of art and inculcate the same in the curriculum effectively • Demonstrated ability to enhance creativity among students by encouraging innovation, novelty and originality in their pieces of art • Familiar with various kinds of pixel sheets, sketching paper and art material, fully capable of determining age specific art material and techniques, suitable for assigned level and grades of children • Known for initiating, designing and implementing various art contests at the school to encourage a general appreciation for art among students • Competent at identifying course goals and fulfilling the same in collaboration with students, teachers and parents • Proven skills in lesson planning, curriculum implementation, technique instruction, practice facilitation and assignment communication • Profound knowledge of various advanced level 3D effect art techniques • Strong classroom management, organization and discipline control skills • Profound ability to devise innovative learning and instructional techniques to facilitate effective transfer of skill and knowledge • Proficient in use of computer to aid art work, familiar with various graphic designing and drawing enhancement software

A kindergarten teacher teaches essential, natural as well as social science, individual hygiene, music, painting, and literature to kids from 5 to 6 years old.

I am an art teacher, so I can paint / draw / do whatever «artistically» as well as regular «ole house paintin»!