Sentences with phrase «always painted from life»

Among Alice Neel's greatest gifts were her remarkable mastery of her chosen medium and her unique ability to plumb the inner psychological depths of her sitters, whom she always painted from life.

Not exact matches

There are details of the structure of the living cell, essential features in the composition of metals, cotton, silk, rubber, paint, bone, nerve, and a thousand other things which are hidden even from the microscope, and must always remain so hidden because the failure does not lie with the skill of the optician but with the incapacity of light itself.

The quiet girl from Brooklyn refused to go back to the projects — being raised by her selfish aunt her whole life was the push she needed to run far away and never return.According to Ms. Hudson, actions have always spoken louder than words, so when a blast from the past resurfaces and refuses to take «no» for an answer, Nia decides to give him one hour of her time.Surprisingly, one hour turns into a week, a week transpires into months and before she knows it, the two have become a couple.Together, East and Nia don't paint the perfect - picture — they have nothing in common, and in fact, he's the complete opposite of everything she stands for.Dangerous, thr...

Third visit during the full day ubud tours is visit Batuan village to see process making the traditional painting and see their collection, Batuan village is always become magnet for those like the fine art, the style of traditional painting in Batuan were often dark, crowded representations of either legendary scenes or themes from daily life, freakish animal monsters, and witches accosted people.

Taipei - based artist Shih Yung - Chun paints scenes from everyday life, taking inspiration from hundreds of photographs, but there's an element of the bizarre in all his crafted narratives — his subjects always seem to occupy themselves with strange activities.

Ian and Mary, 1971, by the late American painter Alice Neel, is one of a handful of images in the exhibition painted directly from life, yet in her spare, urgent paintings Neel, who famously stated «I don't do realism» always alerts us to pictorial shifts and disjunctions that trigger psychological readings beyond the painted surface.

Neel always worked from life, completing a painting over multiple sittings with the subject.

Painting has always been an important part of Hirst's work, but unlike the spot paintings and «fact» painting series which were made using a collaborative studio process, this series is altogether more personal: painted from life, by Hirst at his home iPainting has always been an important part of Hirst's work, but unlike the spot paintings and «fact» painting series which were made using a collaborative studio process, this series is altogether more personal: painted from life, by Hirst at his home ipainting series which were made using a collaborative studio process, this series is altogether more personal: painted from life, by Hirst at his home in Devon.

In the centre of the gallery, Hayley Silverman's The Debt Collector (Tomorrow Always Comes)(2017)-- a life - sized figure made from stained velvet, unspooling rope coils and tattered lace brocade — seems to have stepped from one of Gardner Gray's paintings; three branches carved with elfin faces by Birke Gorm (IOU, 2017) lie in the gallery's corners, as if waiting to be gleaned.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

However, his paintings are almost always based on miscellaneous objects and visual information that he gathers from everyday life: the accumulation of lint on an old comforter; random images seen online; or the geometric patterns on a package of sponges.

Unlike his contemporaries, especially the Teutonic - shamanistic Joseph Beuys or the orgiastic Viennese actionists Otto Mühl and Hermann Nitzsch, Klein always presented himself and his art in a proper, civilized manner — notably during his performances of the Anthropometries, when he directing his «living brushes» from a distance like a Master of Ceremonies, never touching the models or the paintings with his own hands.

Canier comments: «I have always gone back and forth between painting from life and painting from my imagination.

I often find that careful measuring takes me away from my natural way of seeing so I tend to avoid doing too much of it... I usually don't invent things or move things, but I will bend or stretch or shrink things to fit a compositional need, not always consciously... I do paint a lot at street level and have over the years, but I have loved being high up for as long as I can remember... I believe my first 10 years living in Washington Heights at one of the highest points in Manhattan with a view from the ninth floor toward the Cloisters created some kind of archetypal inner landscape.

As Robert Rosenblum states in his 2002 essay for the Marlborough New York exhibition of paintings by Francis Bacon «within this world of widely varied nudity, Francis Bacon might be seen as pioneer and reigning monarch, shifting rapidly, as he could from the immediate stimulus of the always imperfect, often ugly flesh he scrutinized in real - life models and photographs all the way to the fantastic, theatrical constructions that could evoke everything from Aeschylus's Oresteia to the nightmares of the twentieth century's two world wars».

But if you keep the painting open all the time - I work from these still - lifes and the painting is always open and yet they almost inevitably go into a figure or a landscape.

But emigre that he was, with a Northern sense of colour and ironic view of life perhaps inherited from his homeland, de Kooning brought a New World brash sensitivity to bear on his personal development from Picasso and Soutine, and perfected a richly hectic sense of colour that does a great deal to accelerate and to assuage the rush to our nerve - endings that the finest painting by de Kooning always detonates.

but he always returned to paint from life.

I rebuilt my life after that, and I started doing that series of landscape paintings — as always, working from observation and then memory, never from photographs.