Sentences with phrase «about painting from life»

Larry: Back then, it was probably unheard of to have a teacher talking about painting from life, like what Louis Finkelstein was doing.

Not exact matches

So if you wanted to paint a fully rounded picture of my son's life — from his health, education and socioeconomic status, to how he was brought up and what he's achieving — you would need to capture data about his mum and all three of his fathers — me and his two stepdads.

Tangerine director Sean Baker's The Florida Project unfolds at first like a series of sketches about the characters who live in a purple - painted, $ 35 - a-night motel called the Magic Castle down the street from Disney World.

Another barnburner is Sean Baker's The Florida Project, which unfolds at first like a series of sketches about the characters who live in a purple - painted $ 35 - a-night motel called the «Magic Castle» down the street from Disney World.

Caspar David Friedrich, his sourced quotes on painting and life in Romanticism, collected for students and older pupils; But also for teachers in art education; Friedrich's quotes give information directly from the artist himself about his painting art in German Romanticism.

While your home might need necessary upgrades like new flooring, windows, or paint from normal wear and tear, you might want to think twice about doing an expensive remodel or buying a new house to finally live in your dream house.

Suffolk, England About Blog Roy work exclusively in oils, painting from life by the direct observation of my subject.

You will learn about a unique early life that taught him to lead and the passions, from painting to music, that push him to new heights of creativity in all he does, in a life filled with accomplishment and example.

Activities will include live music from K - Town Music, food trucks, pet microchipping and microchip registration ($ 10); rabies vaccinations by the Knox County Health Department ($ 10); information about the center's adoption program; and a kid zone with face painting and crafts.

Machines, digital reconstructions of his projects, high - definition, full scale reproductions of his paintings: from the most brilliant and visionary creations, to information and anecdotes about his life, everything's about Leonardo in his hometown.

Bristol About Blog Tom Hughes, Bristol - based oil painter producing still life, landscapes and cityscapes, all painted exclusively from life.

Although I make my living as a painter, I get most of my ideas on how to write about painting from people who do other things.

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

I remember when the Painting A Day trend started... a lot of artists thought it was crazy — but I've read about a few who, at least at the time, made a living income from it.

In the comments there a great discussion started about the differences between small paintings from life and large studio works like what we see in Constable and Corot.

Lennart Anderson on painting from life with central vision blindness; what vision loss has taught him about painting; art school; creativity; genius; influence; not fitting in; and hunkering down.

We have talked with him about his drive to work from life, the painting challenges that come with diminished vision, how to use the inspiration you get from other painters, and what it was like coming to New York City as a young artist in the nineteen fifties.

Despite working mainly from life for many years and running this site about perceptual painting, I am not a purist with strict rules about only painting in front of nature.

With a focus on works from the period between their first meeting in 1955 until their separation in 1979, the exhibition shows how Mitchell and Riopelle, who lived together in Paris, then in Vétheuil in the Seine valley, developed unique but related bodies of work while they were engaging in a vigorous exchange about abstraction and painting.

The paintings depict the wilderness and fantasies about great adventures with references to memories from the artist's early life in Kiruna, films he has seen, places he has visited or the smallness of humanity in the face of nature.

«There was something very liberating about it, to understand that painting does not have to be this precious thing hanging on the wall — it's just a piece of fabric, material from everyday life, like the thread that we wear.»

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

The film at the core of VertiGhost features the re-creation of select scenes from Vertigo, documentation of a painting by Amedeo Modigliani in the Museums» collection that was enshrouded by questions of authenticity, as well as interviews about the construction of realities in life and art.

A delightful but regretfully brief Israeli television new production about the Israeli painter Sigal Tsabari drawing and painting of horses from life.

Mandolyn Wilson Rosen: In 2011, I started a series of paintings and collages based on the view from my living room, which was about four feet from my landlord's building.

I paint from memory, using sketches and photographs as reference, but informing the painting with everything I am thinking about in my life and the world at large.

The lion in this case, which is a motif that's in quite a number of the paintings, came about from living in Trinidad and seeing the motif of the Lion of Judah which is quite common there.

LG: I'm curious about your mentioning your early figurative paintings, wonder if you could speculate about how painting the figure might differ from your still lifes?

Hofmann's life is terrific to read about — a European arriving in America in the 1930s, the schools he set up in New York and Provincetown (many of the artists in the RA show were his students), his theory of painting, evolved from observing the world and analysing the Old Masters, and his sheer, galvanising, gutsy energy.

«Offers a great insight into sources of [Sasnal's] inspirations and fields of interest: painting about painting, figurative painting and portraits, the history of Poland and travel shots... The book itself is a journey full of facts and intriguing perspectives on materiality and subject matter of Sasnal's paintings and his way of deconstructing the different symptoms of current times... Jam - packed with fascinating personal stories and facts from the artist's life.

For a start, how about teaching art history in art lessons from the point of view of the artist, tell them Francis Bacon hung about with the Krays, or that Caravaggio murdered someone, let them know that the stuff about the vanishing point and composition are tools for conveying aspects of life, death, fear, sex - god forbid, humour - and those po faced dullards with posh voices that stand in front of great works pointing at background views of Tuscany are no more to do with painting pictures than I am an art historian.

Kelly said of his drawings from plant life that they «seem to be the bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work.»

For the donors of the gift, Charles and Valerie Diker, who live in an apartment brimful of Native American pieces and American modernist painting just a few blocks from the museum, the Met's curatorial decision is nothing less than a groundbreaking affirmation of the way they have thought about their collection for more than 40 years.

He chooses images from mass culture to talk about politics, art, painting, cultural issues, taste, the material world, pleasure, power, sexuality, gender and the role of the artist's external life in the larger culture.

This painting tells us about life in its culture and allows us a view of people's everyday experience - what food was eaten, from what dishes and bowls, even the way they cut and served their meat.

In today's China, left - behind children and elder phenomenon are is more common, away from home young people go out to make a living, the old man lacks companionship, dissatisfaction with the society, one voice, such as warm in winter, the scene about the elder alone sitting on the roadside, was painted for 10 years.

When the Virginia Museum of Fine Arts (VMFA) first inquired about a possible loan of Estelle to their exhibition Bouquets: French Still - Life Painting from Chardin to Matisse, NOMAinitially declined.

Nineteen works have been acquired that highlight key moments in Brimfield's career, from collaborative films created for past performances and meticulously drawn and painted posters for imaginary erotic magazines about Henry Moore and Barbara Hepworth, to five photographs recreating moments in the life of Jackson Pollock from the perspective of the canvas, a filmed music hall performance starring a fictional raconteur, and posters anticipating her proposed 2015 exhibition at The Hepworth Wakefield.

I wanted to make something that was exploding as much as I wanted to make something that was cohesive,» notes the artist about his plate paintings in his 1987 autobiography titled CVJ: Nicknames of Maitre D's & Other Excerpts From Life.

Featuring a dizzying variety of works — from paintings and photography to political cartoons and posters — this volume shows how contemporary artists appropriate and recontextualize myth and history to tell powerful new stories about life in Iran.

Although she lived roughly one hundred blocks away from the heart of New York's art scene, Neel attended discussions and debates at The Club, the apartment at 39 East 8th Street where artists of the New York School held meetings about the future of painting.

Mario Naves posts about Roy De Forest on the occasion of the exhibition Roy De Forest; A Simple Life: Small Scale Paintings from 2000 - 2003 at George Adams Gallery, New York, on view through until February 9, 2013.

Riley discusses his work and process noting: «I really strive to not have the paintings feel like just compositional games... and maybe in that sense they're talking a little bit more about the life around the artist and the life that we're living right now - present tense - and the art being a by - product of that and not so much the art being made in this cloistered place away from life but in with life.»

Secondly, perhaps more significant, is the understanding that the imagination is partnered with the external acts of vision and touch... Ling... talks about a different «texture of decision - making», that is «sharper, healthier and quicker» when painting directly from life.

There's a recurring narrative about late style in painting: from Rembrandt to de Kooning to, in our own era, Agnes Martin and Cy Twombly, the trajectory of the long - lived painter in the final decade or two reaches toward a greater openness and a simplifying of form, along with efficiency of execution.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

ABOUT THE ARTIST Originally from Iowa, John James Anderson has lived in Washington DC for the last eight years, completing an MFA in painting at American University in 2005.

The guests heard from two scholarship recipients who spoke about the difference the scholarships made in their academic lives: Jerad Beauregard, in his second year of the undergraduate Drawing & Painting program, and Madeleine McMillan, pursuing her Master's degree in Contemporary Art, Design and New Media Art Histories

The incredibly detailed paintings include landmark scenes from his life including him tranquilizing a polar bear, fishing shirtless, riding a horse shirtless, discovering two ancient Greek amphorae in the Black Sea, practicing martial arts, writing a book about martial arts, co-piloting a firefighting plane to drop water on a raging forest fire, and painting his series of oil paintings.

Churchman's paintings raise questions about how individuality occurs, how permanence pervades physical, emotional, and psychic life, and what a release from the boundedness of things could mean culturally.