Sentences with phrase «image painting before»

Here, too, she tempts one to pigeonhole her art, much like Jennifer Bartlett and New Image painting before her.

Not exact matches

Standing before a large landscape painting of the American West, the Gipper seemed to personify the heroic image of a winner.

David G. Roskie's compelling study Against the Apocalypse: Responses to Catastrophe in Modem Jewish Culture discusses the cross symbol's use not only in Chagall's painting, but in the literary work of Der Nister, Lamed Shapiro, Sholem Asch, S. Y. Agnon and the poet Uri Zvi Greenberg (Harvard University Press, 1984 [pp. 258 - 310]-RRB- In literature written before World War II (and under the influence of biblical criticism that had emancipated Jesus» image from its doctrinal Christian vesture), these authors used the cross symbol variously; for Asch, the crucified figure in all his Jewishness symbolized universal suffering; for Shapiro and Agnon, on the other hand, the cross remained an emblem of violence and a reminder of Christian enmity against Jews.

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I have used it over painted pieces before and have had no issues with the images smearing.

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The film establishes that background with a chilling sequence of the 16th Street Baptist Church bombing in Birmingham, with four little girls walking down the stairs before the image erupts into one of abstract horror painted in smoke and flame.

«It began with musings on epochal paintings and evolved with the photographs I had taken over the years,» said Kiarostami, «Each of these frames is in essence 4 minutes and 30 seconds of what I imagine to have transpired before and after a single image».

This has always been a great lesson - students do not know that photography is a baby in terms of art forms at 200 years old and they are really interested in looking at the images to work out why these paintings are so different before and after the invention of photography.

I thought that Art Tutor didn't allow us to use digital images, and to be honest, I think that using something like this is not all that far from going digital... As far as Dragongirl's comment that she was sure Phil did not mean us to use this tool to make our paintings look better than they actually are in «real life», well, just look at his demo of how to use Pixlr and see how much better the cropped, colour enhanced, brightened, pictures look at the end compared with the «original» photos and it's obvious they are different (otherwise why go through the process if not to make a difference) AND they have more impact, i.e. are BETTER than before.

I've also started doing something I've never done before: making paintings from images of specific paintings of masters like Delacroix, Courbet and Titian.

Jumaane N'Namdi before an autobiographical painting by Howardena Pindell, whose image is in the painting

(He often pours resin on a canvas and then paints images over it, or douses fabrics with lacquer before sketching patterns on top of them.)

The show will include many works that have never been shown in public before, such as his senior thesis An Image of Salome, in addition to his vibrant pastels, large - scale gestural paintings, and well - known prints, such as Dante's Inferno.

Among them are Frank Bowling's dynamic painting «Tambernic Tumbles,» which resembles a distorted digital image but was painted in 1975, well before most people would have known what that was; Hans Arp's newly restored 1954 bronze «Leaf on Crystal,» which the de Menils kept for years at their home; and a 1991 collage by Larry Bell, which Davis found in a box.

From his portraits and images of Los Angeles swimming pools, through to his drawings and photography, Yorkshire landscapes and most recent paintings — some of which have never been seen before in public — this exhibition shows how the roots of each new direction lay in the work that came before.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

A large poster features an image of a huge red abstract painting on canvas that Carter dragged into a wooded area before photographing it alongside the upright dolly she used to move it.

Doig's painting Echo Lake is a David Lynch - like image of the nocturnal menace of the great outdoors; Bourgeois drew all night because she had insomnia; while Blake, long before the surrealists, drew his dreams.

DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New Paintings by Charles Schultz LOIS DODD New Panel Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler

Provenance information for the Simon collections has traditionally been disseminated by existing monographs and scholarly collection catalogues, and beginning in 1995 the Museum's website was expanded to include images, and later provenance, for its large collection of European paintings and sculpture created before 1945.

Such a marked departure from Warhol's usual operating procedures is present in the surface style of the works as well, where the noticeable brush work, laid down before the screening of the image, is deliberately referential to New York School painting, in particular to the style of painters such as Franz Kline and Willem de Kooning, a painter whom Warhol himself has referred to as a model.

Thus, White's paintings hover before us, embellishing an image that incorporates several dualities: culture and nature, abstraction and figuration, melancholy and emotional calm.

The subject of the work is the before and after, the past and future rather than the present — the painting as a paused image or spike on a timeline.

The work of the Park Place Group is illuminated in the exhibition through sculptures by di Suvero and Forrest Myers; photography, including a never - before - displayed image of 79 Park Place from Danny Lyon's series The Destruction of Lower Manhattan (1967); and geometric paintings and collages by Leo Valledor, Fleming, and Tamara Melcher.

The final segment of Kamasi Washington's Harmony of Difference (2017)-- which blends music, film and painting in a six - part «performance» — opens with the image of a cosmic haze, before cutting to the interior of a modest domestic space.

Other paintings with this suffix in the present catalogue were destroyed by Bacon but had been exhibited publicly before he did so; since images of them are accessible in catalogues, they have been included for the sake of completeness.

He continuously analyses and distils his images, making many drawings, photocopies and watercolours before making the high - intensity oil paintings.

In his new work at Galerie Thaddaeus Ropac in Paris, Salle's painting is big, bold, and more direct than ever before, a jumble of images that should be chaos but make perfect sense in today's upside - down world.

In his new work at Galerie Thaddaeus Ropac in Paris, Salle's painting is big, bold, and more direct than ever before, a jumble of images that... Continued

Confronted with one of his paintings of, say, a topsy - turvy face, we tend to see it first as abstract marks, before craning our necks to «resolve» the image as a portrait.

Prussian Blue (2010 — 16) is perhaps his most complex distillation of the problematic of the painted image, challenging us, moreover, to face head - on the historic event before which politics and ethics today draw their shared boundaries.

His realistic painted figures pose before a surreal backdrop and playfully mock the importance we place on image and perception.

A painting is successful or done when there is a certain balance or tension between what we were talking about before — that inventiveness and the original image.

We'd lost her not long before production began and I remember how satisfying it was for me to recreate her image - and character - in paint.

But in 1963, before he can show them, Rauschenberg has a show at the Jewish museum, and in the show is the great, panoramic silkscreen painting called Barge, which combines silkscreened images and bravura painting.

From Joan Mitchell's loaded brushwork in Before, Again IV (1985) to Wayne Thiebaud's painting Candy Counter (1962), in which lush pigment seems to frost the images of cakes, a tactile application of paint energizes both abstract and figurative canvases.

For Magritte, the image - idea is so much more important than its execution that he sprints through each painting, trying to finish before any pictures slip from the burgeoning stack he clasps to his chest.

Twentieth — Century Painting and Sculpture: Selections for the Tenth Anniversary of the East Building, National Gallery of Art, Washington, D.C., 1989 (Catalogue) Image World: Art and Media Culture, Whitney Museum of American Art, New York, November 8, 1989 — February 18, 1990 (Catalogue) Contemporary Woodblock Prints, Jersey City Museum, New Jersey, December 6, 1989 — March 3, 1990 (Catalogue) Seattle: Before and After, Center for Contemporary Art, Seattle, October 5 — November 27, 1989 Artist of the South Fork, Baruch College Gallery, City University of New York, September — November 3, 1989 Robert Bechtle, Chuck Close, Robert Cottingham, Malcolm Morley, Sigmar Polke, Pat Hearn Gallery, New York, September 16 — October 7, 1989 Personae: Contemporary Portraiture and Self — Portraiture, Islip Art Museum, East Islip, New York, September 10 — November 5, 1989 Art in Place, Whitney Museum of American Art, New York, July 7 — October 29, 1989 Contemporary Art from the Chase Manhattan Bank Collection, The Yokohama Museum of Art, Japan, June 18 — October 1, 1989 First Impressions, Walker Art Center, Minneapolis, June 4 — September 10, 1989.

Exodus, a 1960 oil on canvas that will be in the DAM show, bears qualities of a sumi - e chrysanthemum, while Apropos or Untitled (1953), though painted before the artist's trip, somehow suggests images of the East.

He copied pulpy images to paint nurses before Richard Prince did; he made spin paintings before Damien Hirst.

The things in question are paintings, drawings, collages and etchings that he produced in the 1970s, before he became in the 1980s a celebrated neo-conceptual artist known for appropriating — and offering commentaries on — images from advertising and elsewhere.

Wightman's abstract works are simpler, with the colours and forms worked out first in small modelli on paper; his landscapes are originated from found images, sketched in Photoshop and then transferred as cartoons to canvas before collaging and painting.

The meaning of each painting is dependent not only on the person standing before it but also on the image next to it.

In this sense, to view Tuymans's paintings across his career is to examine the degree to which the images are divorced from their pictorial reality — a reality that, originating in the lens of the camera and translated through painting, almost disappears before our eyes.

In 1971, Johns became the first artist at ULAE to use the handfed offset lithographic press, resulting in Decoy — an image realized in printmaking before it was made in drawing or painting.