Sentences with phrase «also moving these paintings»

Not exact matches

There are also a number of grandstanding moves he'd make to get publicity (e.g., ordaining an openly gay man to the priesthood in a very public PR blitz only to defrock the guy a few months later because Spong was so concerned about ordaining a gay candidate that he didn't bother to go through the necessary discernment process — this PR move really impacted some very qualified homosexual candidates who were all painted with the same brush.)

I've also bought a 3/4 ″ thick solid wood board like you can see in these photos and these and I basically followed the same painting technique as with the others.I like making them larger because it allows more space for photos at different angles, so they aren't exactly a breeze to move around, but it's not a biggie.

Bob started his supply chain career with Sara Lee's Household and Personal Care business in the United Kingdom before moving to ICI Paints as their European Supply Chain Director, where he also held the position of Managing Director of the UK and Ireland Paints business.

I also pinned it down so the fabric wouldn't move while I was painting.

You could also paint a cabinet door with chalk paint and frame it out like it was a chalkboard with hinges so you can move it to get into the electrical panel easily.

You'll also notice there isn't a lot of open floor space in her room... we also moved her furniture around after we painted the room and she has a lot more open space to play.

There's also a whole lot of nothing involving Charlie's wife Johanna (Gwyneth Paltrow), a British inspector (Ewan McGregor) who's had a crush on Johanna for more than two decades (somebody should tell him to move on while he still can) and a slew of others who want the rare painting for themselves.

While there are many things he does throughout he move that paints Oscar as, deep down, a good person to those he cares about, especially to his young daughter, Tatiana, he's also somewhat selfish too.

Also available for the first time are the lightweight 10 - spoke forged alloys and Liquid Black painted brake calipers, while inside the display for the optional reversing camera has been moved from the IRIS display in the centre console to the TFT instrument cluster ahead of the driver.

When my mom spoke about Mellitus, what a blessing he was, how much he helped her, how she did not know what she would have done without him, I remember being moved but also thinking that he could not possibly have been the saint my mother painted, that he must have been flawed and human.

- Publishers Weekly «Dark and disturbing but also exciting and moving, thanks to a memorable heroine and vividly atmospheric prose... Fagan [paints] her battered characters» fierce loyalty to each other with such conviction and surprising tenderness.»

As expected you use a new companion — Huey the paint can — to bring colour to the world; we also saw some battles, in which ability and attack cards are selected and painted on the GamePad before the conventional timed button presses to execute moves.

Players will also get a speed boost while moving through those paint trails.

However, there's an advantage to having more paint around, as players can transform temporarily into squids, moving at a faster pace across a map and also refilling their paint gun at the same time.

Characters move like normal humans, running and jumping, but they can also instantly dive into painted parts of an area.

She can also draw on calligraphy to move between color and works on paper in black and white, as if taking stock of her own strengths — and as a reminder of how painting and drawing can still feed one another.

In the 1960s, in response to his move to the countryside in East Hampton, he painted a series of paintings based on the North Atlantic light, and also began sculpting figures modelled in clay that he cast in bronze.

She also seeks to recapture something of the emotions behind paintings by other artists that move her.

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reaPainting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reapainting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

A long bench in the middle of the room — an addition suggested by Rothko himself after a visit in 1961 — makes it possible to sit, but also difficult to move your body in such fashion as to take in all four paintings (a single swivel chair would be better, but impractical).

Indulging his lifetime love of science fiction and fantasy, he's currently illustrating a new historical role - playing game for Iron Throne Publishing and developing life - sized promotional cutouts of zombies for WorldWorks Games while also putting the finishing touches on 30 oil paintings for a summer exhibition — all proof of his incredible comfort moving between the worlds of commercial and fine art.

The line cutting through the oil paint is never a clean dark path — the stylus makes an edge and the oil paint moves away in its own fashion; also the areas of white oil color have their own character and vary in density resulting from Lee's method of application.

Sen's work moves with ease, and spontaneously, between genres — drawing, painting, sculpture, collage, performance, installation, video, (not to mention that she is also a poet) and it is our loss that her name is not better known in the West.

But so is the first painting you see in the show, Pollock's She - Wolf (1943), a strong Picasso - influenced painting although Picasso would most likely have defined the animal with a strong black outline which in the Pollock is obscured by a turbulent painterliness which prefigures Pollock's last works, which are also seen as off - brand (tragically so, instead of, as in She - Wolf, developmentally), although it suggests a move towards materiality, mass, and perhaps even an atavistic need to return to some form of representation, in a way which Guston was able to pursue, when he became dissatisfied with abstraction.

And there was also a change in Helen's work at the beginning of the 1960s, moving it toward the Color Field painting with which she would become most associated.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

If composition with regards to painting involves moving the eye around and within the frame of the canvas, Sammak considers time another variable in the equation of form, that not only the perimeter of the frame but also the length of the video is a compositional limit.

While these highly complex and laborious constructions (she often called them «three - dimensional paintings») moved her well beyond the vocabulary of the improvisatory, so - called «action painting» usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene.

Chicago - based painter Andrew Holmquist thinks and works through multiple mediums to reflect — not only on the act of painting and its central position in his practice, but also the (primarily male) body moving through space.

Between 1973 and 1984 he taught painting and drawing at the Maryland Institute College of Art in Baltimore and also briefly taught at the New York Academy of Art before moving to Israel in 1984.

It's interesting to note that the one painting which feels merely tonal — that is, with hues losing the force of color as they move lighter or darker — is also the earliest; the light of «377 \ 75 Commonwealth Avenue,» 1986, feels far more sluggish than in more recent paintings.

De Staël is the best example of what I mean; Robert Medley was simplifying form and moving in and out of abstraction — he loved Guston's still - life paintings; Nicholson and Scott were also concerned with that particular balancing act.

This painting was on loan from 1997 to 2008 to King's College Chapel, Cambridge, then moved to Hereford Cathedral, also on loan, where it hung in the crossing.

Mostly paintings in oil but also other media, plus drawings and several sculptures this intriguing exhibit made clear the challenge of self - portraiture to achieve more than a likeness captured in a particular moment and move towards a fuller revelation of self and the essence of one's work.

Etherington also hopes to highlight the paintings of Julie Speed before a major museum traveling show of her work begins its tour at the Longview Museum of Fine Arts, Longview, TX (November 10, 2012 until Jan 1, 2013) and then moves on to the Nicolaysen Art Museum, Casper, WY (January 25 to May 5, 2013).

One in a series of «map paintings» that attempt to redraw the world — evoking the history of slavery, family memories and the colors of Bowling's native Guyana — the work also shows Bowling moving strongly towards the work of the Color Field school.

Antony Donaldson also moves freely between intangible and figurative models, the featured Hollywood Pix (1967) combines painting with references to 1930s American cinema.

I also have gone from doing teeny tiny paintings to opting for larger ones because I can move my arm and get my whole body into it.

In addition to paintings, Applebroog has also created sculptures; artist's books; several films (including a collaboration with her daughter, the artist Beth B); and animated shorts that appeared on the side of a moving truck and on a giant screen in Times Square.

Photo: Richard Schmidt) As we make the journey through Hockney's oeuvre — one that the artist has also clearly enjoyed revisiting — we move from his formative pictures as a student at the Royal College of Art in London, through to the breakthrough Los Angeles paintings — typified by A Bigger Splash (Hockney first moved to the Hollywood Hills in 1979)-- to the first big room of the show: a stunning display that reunites Hockney's celebrated series of large double portraits.

She also found a second home in Maine and became associated with the Lincolnville artists, including Alex Katz and Neil Welliver, before moving to mid-Coast Maine where she has lived and painted en plein air for several decades.

Individually as well as collectively, his works revolve around the activity of painting, but also move beyond its physical means to become more than the sum of their parts.

She also has three DVDs: Color Moves — Painting Water with Oils, Landscape Oil Painting on Red Ground and Dramatic Depth in Painting.

by Caroline Picard Chicago - based painter Andrew Holmquist thinks and works through multiple mediums to reflect — not only on the act of painting and its central position in his practice, but also the (primarily male) body moving through space.

His paintings also begin with ostensibly straightforward things — a tightly laced, high - heeled boot, a taut configuration of ropes — but he amps them up with precise details and sly moves in the direction of abstraction.

So Albers was also considering variations of kinetics in painting, especially through the use of color, and, just like a writer experiences when she writes (as Elaine de Kooning articulately explains), was moving through «a long series of rejections — an arduous and complicated exercise of the element of choice.»

MS. CORDOVA: Well, let me ask you, because you're bringing up some really interesting issues about the idea of success for an artist and especially during the late «60s and 1970s, you seem to be moving away from painting and towards — well, obviously installations, also towards maybe even conceptual art.

Sharon Horvath grew up in Cleveland, Ohio and moved to NYC when she was 17 where she received her BFA from Cooper Union, an MFA from the Tyler School of Art, Temple University in Philadelphia and Rome, and also attended Skowhegan School of Painting and Sculpture.

Along with the more traditional mediums of painting, photography, drawing, sculpture, conceptual, video and performance art we also encourage the submission of sound, text, spoken word, dance, comedy, cooking, large scale painting... As a new century begins and the last still informs every move we make an anxiety of where we are takes many forms from the personal to the political.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.