Sentences with phrase «always painted his subjects»

Not exact matches

Fortunately, the results of the unique paint job can always be reversed as the subject Corvette was first wrapped in white vinyl.

Mosieur has been painting with oils since she was 10, and pets have always been a favorite subject, «starting with my own,» she smiles.

In an interview with Leonie Schilling for Arte Al Limite, he explained: «First, I look in the eyes of the subject to find something to hold onto, the need for empathy... A good painting can be disgusting or beautiful, but it is always emotionally moving.

My personal feeling is that I alway respond to painting abstractly - not paying much attention to ostensible subject matter, but instead focusing on the space, line, form, and color - the language of painting.

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.

Bonnard's paintings are almost always of a particular visual experience, of which he made a drawing at the time, but which he painted in the studio, away from the distractions of the subject.

Haggarty comments: «I never start a painting and think I'm going to arrive at a subject, or I'm going to find it through process... I want mistakes to happen and I want process to intervene and surprise me and interrupt me but... it almost always has some kind of direct relationship with either a memory, or a situation I have been in... and I wonder how I can remember that and portray that... [The works] are almost always rooted in some kind of personal memory.»

Though he painted more and less overt subject matter throughout his career, he always seemed to privilege an improvisatory approach.

The painting comes first always, so I'd just like to keep finding subjects that enthuse me.

'' A painting must always move beyond its subject,» says British painter Michael Simpson, who sees the practice of painting as» giving form to an idea.»

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

Subjecting the canvas to a range of painted actions and erasures upon it, Humphries tests the limits of painting, always interested in synthesizing physical and psychological space onto the painted field.

When I ask if nature and lanscape are always the subjects of his paintings, Baribeau responds with an emphatic «always.»

While this is something that painting has always been aware of, he made it the actual subject of his work and has articulated it so clearly.

«Our paintings have always been recognized as a turning point in Turner's work in a movement that began in the teens and accelerated in the»20s,» said Susan Grace Galassi, the senior curator at the Frick Collection who organized the show, «moving away from naturalism towards a more poetic treatment of topographical subject matter, and towards a more imaginative treatment of light and color.»

Neel's later paintings largely eschew such melodrama, but they are always uneasy, inviting the viewer into a direct and often alarming intimacy with their subjects.

Warhol recalled of his Rorschach paintings, «Nothing can always be the subject of something.

He has said, «I always need to find some theme, some tangible subject matter besides the paint itself, otherwise I would have been an abstract artist.

Saul has long poked admiring fun at the giganticism of capital - A abstract painting, always smiling as he kills; his subject matter has always been incendiary and his visual style go - for - the - throat.

But my starting point is always the language of painting itself and how that relates to the subject matter.»

Hodgkin said that the experience of painting it was when he realised that his subject would always be memory.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

Aside from these works from old masters, and his many paintings and drawings of human subjects, London has always been Kossoff's most important subject.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

Few of these portraits were commissions because Bacon almost always chose the subjects of his paintings, whom he painted primarily based on the photographs that they sent him.

The core subject of Yu Hong's paintings has always been human nature, with a focus on the growth and existence of a particular society and the world at large.

In the 1950s, Saul introduced the iconic comic and cartoon characters, Superman and Donald Duck, to his expressionist paintings; in the mid-1960s, he devoted a series of anti-military works to the Vietnam War; and, in the 1970s, he created his own variations of Rembrant's «The Night Watch» and Picasso's «Guernica», always returning to subjects drawn from mass media and art history.

Daily Commute will feature paintings, drawings, and pastels that reflect Daze's exploration of and reflection on New York City, a subject that has always permeated his work.

They operated on all of the levels that I wanted them to — scale, the complexity of subject, the treatment [of paint and technique]-- all of those things seemed to come together in those two pictures in a way that I had always been struggling with before, but had hit right on the mark at that time.»

Although she doesn't paint abstracts Audrewy Kawasaki always strikes me as very effeminate, in part because of her subject matter, but it's also how she goes about presenting and rendering things.

When I made the first «construction», I wanted to make objects that I could represent in paintings, so that they would be still - life subjects, but not be recognisable; so they would not always be referring to something autobiographical.

The subjects conjured from her imagination are always black — a «political gesture», she says, since «we're used to looking at portraits of white people in painting.»

And always, through changes in subject, technique and style, Mr. Ofili never loses touch with his belief in painting as, foremost, a sensual, accessible experience meant to engross the eye before doing much with the mind.

It is exemplified by the way Quaytman incorporates the reference: «Then there is the subject, always wanting to be in a perspectival space, which is what I had to think about so intently with the van Veen paintings that inspired the whole thing: how to include them in a painting made now?

But whether in Piero della Francesca's diplomatic decision to paint the one - eyed Duke of Urbino in profile or Gustav Klimt's habit of sleeping with his subjects, the relationship between artist and patron has always been fraught.

Yet Halvorson's paintings have always been haunted by the historical resonance of their subjects, to which these new works add associations with the body, like the pinkish, peeling bark of Birch Skin (2017).

Then you have the elegance in the way it's painted, also a bit in contrast — it always has been at some level — with the subject.

Hodgkin's paintings might often be seductive but their subjects are by no means always pleasurable.

According to a review by Irish Times art critic Desmond MacAvock, O'Neill had always shown the greatest consistency of manner, style and subject matter of the Belfast school of contemporary Irish painting.

Commenting on the inclusion of several flower paintings in the show, now a classic and recurring subject for the artist, Hume says, «nature will always return after history's wonky wheel has trampled it.»

«So this is the second show [at David Zwirner London]-- and I've always been fascinated by Britain for several reasons, for example it is one of the last «class societies» — although I don't know how long it will still go on — but I once tackled that subject in a small show, the first white cube show that I did called «Spelndid Isolation», and one of the portraits in that show was also based on Henry Draper [American doctor, amateur astronomer, and pioneer of astrophotography]-- these three works in front of you [portraits: «William Robertson», 2014, «John Robison», 2014, and «John Playfair», 2014] are derived from the paintings in the professors room at University of Edinburgh.

In line with this, my paintings always suppose a subject that is being transformed.

In works made after 1969 Guston renounced his previous interest in abstraction in favour of «a world of tangible things, images, subjects, stories like the way art always was» («Philip Guston Talking», Philip Guston Paintings 1969 — 80, exhibition catalogue, Whitechapel Art Gallery, October — December 1982, p. 50).

«The process of painting my subject directly from observation in natural light has always been essential to my work and a jumping off point for exploring intimacy and poetic visual relationships found both in observable reality and the abstract relationships within the painting.

I'm always reminded (when getting onto the subject of abstract painting... is it dead etc.) of the great Dave Hickey's quote about non-representational painting being rather like Jazz «The people who are interested in it know where to find it — no - one else gives a shit about it»!