Sentences with phrase «began painting images»

In the early 1950s he began painting images of concentric rings of different widths and colors on unprimed canvases.

Not exact matches

Pictures painted on the walls of my womb began to emerge» (The Mother's Songs: Images of God the Mother [Paulist Press, 1986], p. 67) She discovered the Great Mother in the awesome beauty of the desert, brooding over a world still in the process of being born.

I think painting this perfect image and not addressing common trials in the beginning can be misleading in a way.

On retirement in 2003 Rita began the Robert Hooke project, «to put him back into history» - give him images, raise his profile and obtain memorials for him in the City of London (St. Paul's Cathedral and Monument Square) and painted memorials elsewhere e.g. Gresham College, Open University, University of Oxford, Willen Church.

Now check out the image below and you can sadly see the water stains that bled through after beginning painting it.

Some of the superheroes who will be introduced to the viewing audience include Peter Petrelli, an almost 30 - something male nurse who suspects he might be able to fly, Isaac Mendez, a 28 - year - old junkie who has the ability to paint images of the future when he is high, Niki Sanders, a 33 - year - old Las Vegas showgirl who begins seeing strange things in mirrors, Hiro Nakamura, a 24 - year - old Japanese comic - book geek who literally makes time stand still, D.L. Hawkins, a 31 - year - old inmate who can walk through walls, Matt Parkman, a beat cop who can hear other people's thoughts, and Claire Bennet, a 17 - year - old cheerleader who defies death at every turn.

Detroit begins with images from Jacob Lawrence's Migration series, paintings that make art out of tragedy.

As the film goes on, this hesitance to show violence in tandem with the hallucinatory sound and flashes of images from Joe's past begins to paint a picture; of a man whose abusive childhood has stayed with him.

«It began with musings on epochal paintings and evolved with the photographs I had taken over the years,» said Kiarostami, «Each of these frames is in essence 4 minutes and 30 seconds of what I imagine to have transpired before and after a single image».

This, coupled with the fact that certain reviews have personal opinions on what a person liked and didn't, begin to paint a conflicting image of what a game has to offer.

What began as a simple intro text or just a painted image is now a large collection of systems.

Because of the original painting, there was a ghost image in the white and I began to pull it out until the shape in the current painting emerged and the piece grew from there.

Butler notes: «Hauser operates in a systematic sequential fashion, turning drawings into digital prints, enlarging the images into paintings, and using images of the paintings to begin new prints and repeat the process, cannibalizing earlier imagery as she goes.

Beginning with his early text and photo - text paintings from the 1960s, he has explored these dichotomies through hybrid compositions of photography, text and painted images.

Argue's large - scale paintings begin with universally recognizable images and scenes of iconic artworks — Picasso's Demoiselles d'Avignon, for instance — but with a veil of abstracted letters superimposed on top.

For three decades she concentrated primarily on photography and video, but in recent years began exploring drawing and painting again, inspired by vintage images of black representation in Ebony and Jet magazines.

Appel's new series of paintings begin as primary arrangements: cut - out paper forms referencing the portholes of Jean Prouvé's Maison Tropicale are combined with Appel's own photographs of fragments of his previous works, landscapes, and images of Paolo Soleri's Arcosanti.

The works on view at Eleven Rivington have long since distanced themselves from this beginning, having appeared in an artist book, then haphazardly rearticulated through three - color process paintings (cyan, yellow, and magenta), scanned and digitally distributed on his and others tumblr pages, and presently re-photographed through a PDF generating application on his phone, the images from which provide the basis for this exhibition.

The final chosen image is then photographed and projected onto a large primed canvas, where Short begins a meticulous rendering of the original using black oil paint or india ink.

Beginning with pages ripped from LOVE, The WILD, Wonderland, and other such publications, these paintings prompt us to consider the relationship between these glossy images and the degree of veneer in our own lives.

Four years later, his father hanged himself; Guston discovered the body and subsequently sought solace by hiding in a cupboard lit by a naked bulb, the image of which would become a prevailing motif in the oddly disquieting, figurative, often autobiographical paintings he began to make in his fifties.

After making paintings on canvas for many years, Livingston began pouring paint, layering it, then cutting it and breaking it apart in order to construct objects that are images of their own making.

At the end of the Cold War and the beginning of reunification, he created a series of paintings that feature stark, stenciled images of wooden turrets typical of the guard stations found in concentration camps or along the walls that separated east from west for so long.

He began the first of these paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished.

I entwine those experiences with others, and as I begin to paint, and with that, the direct application of paint in the moment can add its own dynamic to the image - making process.

In the early 1960s, Pistoletto began making his famous series of Quadri specchianti (Mirror Paintings): sheets of polished inox steel, like mirrors, onto which he applied images he obtained through a photographic reproduction technique.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

Although Singer's works often begin with Internet image searches for general categories — for example, «performance art» in Happening (2014)-- and are more or less traditionally painted onto two - dimensional surfaces to create the illusion of space and depth, to call them paintings is largely a misnomer.

After producing performances and installations in the late 1970s, Salle began to make paintings in which he overlaid found images from different sources in varying styles.

It's telling that «Ocean of Images» begins with DIS but ends with Katharina Gaenssler's Bauhaus Staircase, a photo - wallpaper installation that dutifully revisits the history of that famous school of art and design while referencing Oskar Schlemmer's beloved 1932 painting Bauhaus Stairway at MoMA.

Warhol began painting appropriated images of pop culture, such as his famous Campbell Soup Can, Marilyn Monroe and Elvis series, in 1960, marking a significant turning point in his career.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

When fellow students who had been on courses at Newcastle — where Tom Hudson, Harry Thubron, Victor Pasmore and Richard Hamilton were among their mentors — began to explain the evolution of Mondrian's work to me, the metamorphosis of his drawings of trees, for instance, towards making an autonomous painting, or Matisse working directly from the nude model but ending with an independent image — then it seemed an exciting possibility, to make a painting that was independent of local colour or illustrative form.

He then had a quantity of screens made from images of all sorts — current events and daily life, science and art, photos he'd taken himself as well as ones lifted from sources such as Life and Sports Illustrated — and began combining and recombining them over the next two years into an extraordinary series of paintings in which the lightness and near - bodilessness of the silk - screen ink, with which he never had to struggle, gave the compacted iconography a persistent flash of instantaneity.

Previously consisting of animals to a great extent, her art became increasingly personal in that she began to add her own image into the paintings.

«From the beginning of her career she has been a restless and relentless transgressor of boundaries, among them figuration / abstraction, image / text, painting / sculpture.

Each surreal painting that begins with an idea or image is unique and original, and kinda represents Amy herself, but also marks a period of her artistic career.

Provenance information for the Simon collections has traditionally been disseminated by existing monographs and scholarly collection catalogues, and beginning in 1995 the Museum's website was expanded to include images, and later provenance, for its large collection of European paintings and sculpture created before 1945.

While the Laurentians and then Québec's Eastern Townships (as well as Montréal's Mount Royal) had provided the tranquil settings of most of his landscape images, Roberts now began to paint the more rugged north shore of the St. Lawrence, the scraggly terrain of southwestern Québec and the dramatically austere Georgian Bay.

Regarding approach, my paintings begin in a purely abstract, intuitive place with no set preconceived image or idea.

For a time he did not paint at all; then he began afresh a series of paintings which retained the images of his later work but returned to the misty effect of the garden paintings of the early 1950s.

After fifteen years of acclaimed abstract painting, he began creating large - scale nudes and other figural images, often in grisaille or a severely restricted color palette.

Steven Campbell, a leading proponent of New Image Painting (the Scottish manifestation of Neo-Expressionism), achieved critical acclaim in New York as a Fulbright scholar, though his career had begun as a student at Glasgow School of Art.

He was a student in Joseph Beuys» master class when he began to seriously question the role of the image in painting, and by 1968 he had formulated the foundation of his practice in the seminal installation «Raum 19,» which has continued to influence his work.

As he became more successful, Hawkins began to collage mass media images and eventually found objects into his paintings, and he developed a technique he called «puffing up» a shape: building it up from the support by mixing cornmeal into the enamel paint.

Close begins his paintings with a photograph, grids the image and methodically transfers the information, square by square, to a larger format.

What began with obsessive - compulsive word drawings a decade ago grew into a collaged painting practice — one might call it an image hoarder's bricolage — that incorporated everything from advertisements of amplifiers and actual clearance stickers to Budweiser labels and nightclub wristbands.

She has recently begun to approach painting as an expanded field, placing her canvases in the context of multimedia installations that include moving images, sculpture, and performances.

This kind of interest in the language and meaning of image making found resonance in Australian art, particularly in the 1970s and 1980s, as the dominance of expressionist painting began to wane and a more conceptual, playful and ironic postmodern art emerged.

Upon viewing the paintings at a closer distance, the images begin to transform; the detail starts to appear and the material and form, along with the process, completely changes to give way to the realisation that the paintings are in fact knitted pieces layered together to form an abstract painting, using wool to replicate the process of paint.