Sentences with phrase «begins painting parts»

Soon, she begins painting parts of the house as she goes about her daily duties and he not only grows to love her, but also learns how to love.

Not exact matches

The parish priest of Cebreiro began painting yellow arrows along the route, and pilgrims now can find these on the Caminos de Santiago from all parts of Spain and all countries of Europe.

A genuine philosophy of history regarding the beginning8 of genuinely human history, and a genuine theology of the experience of man's own existence as a fallen one which can not have been so «in the beginning», would show that where it is a question of the history of the spirit, the pure beginning in reality already possesses in its dawn - like innocence and simplicity, what is to ensue from it, and that consequently the theological picture of man in the beginning as it was traditionally painted and as it in part belongs to the Church's dogma, expresses much more reality and truth than a superficial person might at first admit.

Based on data collected since the beginning of 2018, an average of 200 children per month took part in the Meet and Greet with Julia and the «Amazing Art with Julia» painting activity, across all three Beaches Resorts in Turks & Caicos and Jamaica.

He began to work with celebrated astronomer and science advocate Carl Sagan in the 1970s, making the painting on the cover of Sagan's The Dragons of Eden and winning an Emmy as part of the team behind the sets and visual art of Cosmos.

Meagan Sokol, Arts Education Director — Meagan began painting at the age of 3 with ample encouragement from her creative family and a natural intuition for making art as part of health and healing.

Searching for Love is part of larger series of paintings titled My Eternal Soul, which Kusama began in 2009 and has grown to include over five hundred works.

Installed outside the Serpentine Gallery Ada, (wind vane) is a flat sculpture which is part of Alex Katz's «cut - outs» — a body of work that dates back to 1959 when he began to cut out figures from his paintings to emphasise the two - dimensionality of painting.

Obering's art practice began to converge with the parts of her life that appeared as dreamy diversions, or even interruptions, from making paintings.

In Cecily Brown's Sweetly Reminiscent, Something Mother Used to Make, 2013, brush marks and body parts, paint and flesh, begin to dance in a contemporary bacchanal.

Coventry began to revisit the McDonald's concept a year ago, isolating and cropping parts of the logo to yield new paintings that link Minimalism, Modernism, and Pop Art with elements of mass - consumerism.

Metier begins with an actual subject, and then, using her expressive brushwork, turns it into an abstract composition; though more representational than usual for her, these paintings were still very much a part of her classic style.

She, like Mitchell, was also involved in the literary community and, in the late 1950s, began embedding text into her Action paintings as part of a collaboration with the New York School poet Barbara Guest.

But her paintings, which burst with fierce, swooping lines and swollen shapes reminiscent of body parts, have only recently begun to receive their due as integral to shaping Abstract Expressionism and its legacy.

More than 50 years ago, Gerhard Richter began mounting parts of his extensive collection of pictorial material on cardboard, hoping to create order and clarity among his archive of photos, newspaper clippings, sketches, drawings, construction plans, room design, collages, overpainted photographs and drafts of paintings.

Untitled [glossy black painting](ca. 1951) is part of a body of work known as the Black paintings that Robert Rauschenberg began in 1951, while he was a student at Black Mountain College in North Carolina, and developed intermittently over the next two years.

The early part of the collection features French and Russian art from the beginning of the twentieth century, cubist paintings and superb holdings of expressionist and modern British art.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

Now, one of the things that's also striking, is that in «Look Mom,» you get these opaque surfaces, certainly less atmospheric than others ones, and you begin to see a clarification of the physical parts of the painting other than gesture.

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes.

I began to wonder, if accident played no part in Still's creative process, how technically similar are these paintings?

This print by Deborah Kass is based on a painting from her series MORE Feel Good Paintings for Feel Bad Times, the first part of which she began in 2002, partly as a critique to the Bush administration.

Ofili began to garner attention in the mid-1990s with his intricately constructed works, combining bead - like dots of paint, informed in part by cave paintings in Zimbabwe, with collaged images from popular media, and elephant dung.

One could begin where others have: consider Kirkeby part of some uber - history of Painting that unfolds at a distance from seasonal trends and changes of atmosphere.

My first solo show, part of BOOM in Bushwick, is a homage to good old Windows 95 days and all that has transpired since, celebrating the root of my career as an artist by painting my digital beginning, along with remixed nostalgia of screensavers and GIFs.

He began making his now signature date paintings (known as the Today series) on January 4, 1966 in New York City and continued to produce them in different parts of the world up until his death.

In addition to canvas collages, Loving also began piecing together torn strips of paper and cardboard into massive compositions that he would paint in a variety of colors and mount to metal supports so that they jut out from the wall, causing shadows that in effect became part of the overall composition.

Presented in a tight grid in one of the largest configurations ever executed by the artist, here covering the entirety of four walls, the recent My Eternal Soul paintings on view are part of a highly celebrated, ongoing series begun in the late 2000s.

Paul Corio posts the second part of painter George Hofmann's theory of a «new kind of pictorial space beginning to crystallize in painting which he refers to as «Fractured Space.»»

Beginning as a conservative admirer of Signorelli, El Greco, and Tintoretto, Beckmann quickly moved toward painting the tight, hectic scenes of European interwar life for which, in part, he became famous.

Benson discusses her process: «For the most part for these paintings, I feel like they are a collage of different painting moves and I approach it the same way you would if you're making a Photoshop file... In the beginning of the painting, it happens really fast and I can do the first four to five moves pretty fast within one to two days and even up to the first oil move.

Nanette Fluhr has three paintings that are part of a six - city national museum tour of American Realist Painting in China, which began in September 2012 and ends this December.

Howardena Pindell: What Remains To Be Seen progresses, for the most part, chronologically, beginning with the artist's early paintings as a graduate student at Yale University to her mixed - media works created as recently as 2015.

This painting was begun during Adams» Artist Residency at «The Church» (part of Soaring Gardens Artist Retreat) in August of 2009 and finished in his own studio in September.

Part of it as you indicate in the book was a reaction against the kind of aggressive, tough raw painting that you experienced in de Kooning's work that you felt attracted to but at one point began to realize that it wasn't of your nature.

The paintings represent a new phase of Ban's imagery in which significant stylistic and conceptual changes begin to take place: the elephant is more abstracted, and other common motifs, such as underpants, are no longer obviously part of her major thematic concerns.

During the 1980s he began combining abstract and figurative elements of painting in his works, as part of a reaction to the prevailing Neo-Expressionist aesthetic of the time.

Jones began working in drawing and collage in part because she didn't have a studio in which to paint.

Minter is best known for her sexy, sumptuous paintings and photographs of models» body parts, which she began in the early 2000s.

Although there are a few overlaps between Hoptman and Siegel's projects (Laura Owens and Mary Weatherford in the exhibition, joined by Amy Sillman in the book), the contemporary work in Pretty Raw is part of a revisionist history that Siegel had already begun to articulate in her 2006 exhibition High Times, Hard Times, where she traced New York painting's turn toward an inclusive approach — in every sense — to the medium during the 1960s and»70s.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

After studying painting with the Venetian artist Alessandro Rossi from 2002 until 2004, Bubacco opened a studio in Murano and began to take part in exhibitions in Italy and throughout Europe.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

To understand the radical implications of Warhol's Shadows, one must begin with the work's form: the Shadows series was conceived as one painting in multiple parts, the final number of canvases determined by the dimensions of an exhibition space.

Cézanne also often leaves parts of the painting unchanged from when he began.

Beginning in the late 1980s, with exhibitions organized by curators William Olander and Laura Trippi, the New Museum placed increasing emphasis on areas other than painting and sculpture, and presented film, video, television, photography, and performance works as a regular part of the exhibition program.

He begins the Guggenheim commission — requested for the new Deutsche Guggenheim Berlin exhibition space — in his Aripeka, Florida, studio and completes one of the three paintings that constitute this three - part installation work entitled The Swimmer in the Econo - mist (1997 — 98).

In the 1940s, Hofmann began to achieve recognition for his painting and became an integral part of the vanguard American art scene.

BL: I see these paintings and photographs as part of a larger art historical lineage that began in the mid-1800's and is still very relevant today.

That's the reason why the painting in the show is not just a discourse about and among painting, per se, but painting resulting and reflecting from all mediums and fields of disciplines, including all of the things that were part of the beginning of the consuming and technological culture of the»60s.