Sentences with phrase «as the critics painted»

However, it is not as bad as the critics painted it to be, either.

Not exact matches

Critics weren't impressed, painting Heyman as arrogant and out of touch.

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

Of course, that is a notion that will be hysterically rejected by nationalist sympathisers, who will fall back on painting any critic as someone who conflates national pride with hate crimes.

Klein and his colleagues have seemed eager to paint their critics as racists — until very recently they were attacked for being a tiny all - white conference that was subverting the will of hundreds of non-white voters in New York City who voted for Democrats who conference with regular Democrats in the Senate.

It is the first time the U.S. has so clearly linked the two events, which critics have painted as a hostage - ransom arrangement.

Furthermore, critics have tried to use the Congressional race to paint Linares as a traitor to the Dominican community, saying he betrayed them by supporting Rangel over Espaillat.

«The New Statesman's attempt to paint Sayeeda Warsi's Tory critics as racist Main Labour MPs attack Jubilee celebrations as irrational and «a show of opulence by state elites»»

It launched pre-emptive ads aimed to paint critics of the governor's fiscal goals, such as public - sector labor unions, as «special interests» — organizations that funded hard - hitting commercials when ex-Govs.

«As figures reveal Lib Dem membership has shrunk by 20 % we also learn that Cable speaks regularly with Ed Miliband Main The New Statesman's attempt to paint Sayeeda Warsi's Tory critics as racist&raquAs figures reveal Lib Dem membership has shrunk by 20 % we also learn that Cable speaks regularly with Ed Miliband Main The New Statesman's attempt to paint Sayeeda Warsi's Tory critics as racist&raquas racist»

As the critic David Thomson recently wrote, «Long - form television is the narrative form that has transcended movies as the novel once surpassed cave paintings.&raquAs the critic David Thomson recently wrote, «Long - form television is the narrative form that has transcended movies as the novel once surpassed cave paintings.&raquas the novel once surpassed cave paintings.»

Ciarán Hinds plays a widowed art critic who returns to the scene of a sun - kissed but ultimately painful summer of his childhood — a lost world inhabited by louche bohemian adults (Natascha McElhone, Rufus Sewell, both ripe as all hell) who seem to be trapped for eternity in a Jack Vettriano painting.

Named after the only book by film critic, painter, and teacher Manny Farber — a 1971 collection reprinted in an expanded edition in 1998 — Petit's video wrestles with American landscape and culture, irony, memory, Las Vegas, the beginning of a new millennium, death, desert, film versus video, J.M.W. Turner's painting, several movies (including Howard Hawks's The Big Sleep, Jacques Tourneur's Out of the Past, and Roberto Rossellini's Voyage to Italy), as well as two critics, Farber and Dave Hickey.

And while the movie's first trailer before its Cannes debut painted it as a moody tragedy, this new one filled with critics» raves better captures the propulsive, neon - lit energy of what you'll experience for 99 minutes — as Pattinson's bank - robber character races through one desperate night trying to get his mentally disabled brother (Benny Safdie) out of jail, bloodying a lot of faces and ruining a lot of lives along the way.

Marshall (Google Play, YouTube, iTunes, Vudu, Amazon Video) Critics derided this Thurgood Marshall biopic as another paint - by - numbers tribute to a great man under fire, but Common and Andra Day's original song «Stand Up for Something» transcended its delivery system to the public.

It would've even been better as a Waking Life, where the talking heads were film historians and critics who could go on at length while animated versions of the paintings unspooled behind and around them.

Her haunting paintings strikes this critic as heavily influenced by such masters as Edward Hopper, Andrew Wyeth and Edvard Munch.

Some critics saw the Race to the Top stipulations as federal strong - arming that allowed the Obama administration to paint state adoption as entirely voluntary when, in fact, there were potential financial consequences for opting out.

Some critics are painting the NAACP as being in opposition to the efforts of Black and Brown families to determine the education of their own children by choosing to send them to charter schools.

Critics have painted not only Lee's attorney — Tonja Carter, a professional who was hand - picked by someone who loved Harper Lee possibly more than anyone else in the world — but also HarperCollins as being greedy charlatans who would take advantage of an elderly woman for their own gain.

The Guild is generally painted by the many who don't like it as an a promotional club that protects and enhances the career gains of the most already - successful, traditionally contracted authors, the perceived «haves» as opposed to the «have - nots» for whom standard publishing deals and conditions are frequently described by critics as flatly punitive.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Donald Moffett, whose paintings and prints are currently on view at the Blanton, discusses growing up in San Antonio, and his career as an artist and an activist based in New York with acclaimed novelist and art critic Jim Lewis.

So he is able to tell his somewhat patronizing guide, the French critic Pierre Schneider, to see Uccello's The Battle of San Romano as a modern painting, a flat painting, and to explain why Mantegna's Saint Sebastian bleeds no more than a piece of wood despite being pierced with arrows.

Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s.

Known for expansive grid panoramas and painted installations, Bartlett's art was aptly described by New York Times critic John Russell as enlarging «our notion of time, memory, and of change, and of painting itself.»

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

In his 1995 book After the End of Art, critic Arthur Danto highlighted Reed's inventive synthesis of painting with other media, describing him as an «exemplar of the contemporary moment in the arts.»

Peter Schjeldahl, art critic for The New Yorker, posited Mr. Polke as «the artist who rescued painting».

Sylvester countered remarks by various critics that the artist's work was closer to sculpture than to painting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting» (Sylvester, «Young English Painting», The Listener, 12 JanuarPainting», The Listener, 12 January 1956).

The European installation culminates in a display of the paintings that provoked the most bewilderment and notoriety in 1913: Cubist works by Picabia and Gleizes, along with Duchamp's «Nude Descending a Staircase (No. 2),» which prompted its famous description by one critic as «an explosion in a shingle factory.»

Of the dozen or so paintings of Ryder's in the 1913 Armory Show it was said by critic Charles Caffin: In his unobtrusive sincerity he, in fact, anticipated that abstract expression toward which painting is returning and may almost be said to take his place as an old master in the modern movement.

I remember Siri Hustvedt and Paul Auster, who visited as critics, and I was making these long paintings, 1 by 8 feet, portraits that were hanging one on top of the other, and Siri said they were okay individually, but they were much more interesting together, which spurred me to spend the next year making paintings that were in a diptych format, exploring how they relate to one another and how everything didn't have to be in every painting.

«What amazed me is that all of the women critics respect you if you paint your own pussy as a women's libber,» Neel said then.

Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting.

Our current exhibition of Joan Brown paintings has been featured as a Critic's Pick in Artforum.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Gerhard Richter fans still giddy from his last major retrospective at New York's Museum of Modern Art in 2002 — which one critic described as «a resounding hosanna of piquant, good, and great paintings» — will get another chance to savor the modern master's art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 2012).

Formalist critics, especially Clement Greenberg (1909 - 1994), made much of perceived flatness as one of the qualities through which modernist painting distinguished its claims on our attention from those of all the other contemporaneous arts.

In grad school, as a perceptive critic Sidney Tillim pointed out, I was just making many paintings on one canvas, and Jake Berthot told me to read The Unknown Masterpiece by Balzac, which addresses obsession with process.

In his 1968 lecture at MoMA, critic and scholar Leo Steinberg stated, «When Roy Lichtenstein in the early sixties painted an Air Force officer kissing his girl goodbye, the actual subject matter was the mass - produced, comic - book image; benday dots and stereotyped drawing ensured that the image was understood as a representation of printed matter.»

At Mr. Orozco's 2009 MoMA retrospective, Jerry Saltz, the critic for New York magazine, dismissed his paintings as high - end screen savers — «contrived, unimaginative, banal, and risk - free,» essentially calling Mr. Orozco a sellout.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

One critic castigated his paintings as «unspeakably boring»; another compared them with «bolts of material waiting to be made into a pinstripe suit».

Critic Helen Sumpter suggests in her recent essay on Gabb: «It's almost as if Gabb had taken something of the cool colour field paintings of Barnet Newman and turned them into something like the gestural action paintings of Jackson Pollock... These extraordinary artworks could also be seen as somewhat flighty but if they've become sculpture, paintings should at least stay fixed in their final form, shouldn't they?

Critics of the revival of painting, or perhaps the particular form of its manifestation, in both Italy and Germany in the 1980s, condemned the new work as essentially retrograde, as quoting the fascist styles of the 1930s, or glorifying Italy's notoriously decadent Roman past.

Although it has been argued that these lines resemble some of the geographical features that Diebenkorn observed in the suburban landscape, by the time he painted his Ocean Park paintings he felt he had resolutely abandoned figuration in favor of something much more spiritual and contemplative, as one influential critic noted, «[With the Ocean Parks]... one leaves behind labels like «Abstract Expressionism» and «Bay Area Figuration» and enters a breathtaking new world that is unique to Diebenkorn as Mondrian's or Still's or Rothko's are to their creators....

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

A leading figure of the Korean Tansaekhwa, or «monochrome painting» group, Chung is recognized for the innovative painting method he developed in the early 1970s, which the critic Kwang Suh Oh describes as «taking off / removing» and «re-painting.»