Sentences with phrase «begun painting from life»

Contributed by Eileen Jeng Lynch / Harking back to the Impressionists, Lauren Luloff has begun painting from life, focusing on light, color, and the world around her.

Not exact matches

The MFA event, from 5 - 10 pm (free admission beginning at 4 pm), will include local music, dance, live painting, and an open mic.

Taking his cue from Dante's frost - tinted, green - & - red hued view of Spielbergian suburbia, Peckover and his masterful DOP Carl Robertson paint a picturesque façade of blissful well - to - do family life that begins to crack almost immediately; a snowman is beheaded, while the joyful playing of young siblings descends into a brutal snowball fight.

An Urus begins life as a freshly painted chassis brought in to the factory from an external supplier.

Beginning with her earliest performance with Fleetwood Mac in 1975 — a wild, haunting rendition of «Rhiannon» that's definitely worth a watch on YouTube — Davis paints a vivid and easily accessible portrait of Nicks» life that's bolstered by quotes from previously published interviews.

A brief survey of representations of life - drawing sessions reveals: an all male clientele drawing from the female nude in Rembrandt's studio; men working from male nudes in 18th - century representations of academic instruction in The Hague and Vienna; men working from the seated male nude in Bailly's charming painting of the interior of Houdon's studio at the beginning of the 19th century; Mathieu Cochereau's scrupulously veristic Interior of David's Studio, exhibited in the Salon of 1814, reveals a group of young men diligently drawing or painting from a male nude model, whose discarded shoes may be seen before the models» stand.

Since the 1990s, Peyton began exhibiting her work — paintings of artists, musicians, historical figures, and friends, which she renders from photographs and from life — and more recently, also in still lifes, landscapes and scenes from the opera.

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

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.

After his discharge from the army, Kelly spent seven formative years as a young artist living in Paris, where he was influenced by the city's museums and architecture and began to develop his signature style, exemplified by his purely abstract paintings comprising differently colored panels.

Renowned for her challenging optical and hard - edged abstract paintings, Edna Andrade (1917 - 2008) lived and worked in Philadelphia beginning from the time she was a student at the Pennsylvania Academy of the Fine Arts.

Working in sculpture and in painting respectively, both artists begin by drawing from life; in Carol's case in the life room with a model, or with Andrew Hood, a chosen location in a city street or remote landscape.

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!

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 instantanelife, 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 instantaneLife 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.

Despite only coming to the attention of a wider art world a decade or so ago, Herrera has been painting for almost eighty years and continues to do so from her studio in Manhattan, the same apartment she has lived in since 1954, although her first stay in New York began in 1939.

Phenomenology, for example, is there from the very beginning: those first geometric explorations of colour and form reveal the same engagement with the viewer's sensorial experiences of space and matter as the early «penetrables» — walk - in spaces constructed from monochrome painted boards — and the expanded participatory installations, which Oiticica continued making until the very end of his life.

Whitaker lived and worked in Chicago from 1991 until 2003, during which time she developed «Women in the City», a group of paintings observing the Chicago cityscape; and also, a series of large drawing / paintings on paper called «Ancestral Excavations» which have shown in solo venues around the country and now some of this work will be touring the United States in a group invitational, The Veiling: Visible and Invisible Spaces beginning in Colorado, the Spring of 2008, and traveling to Arkansas, Wisconsin, Connecticut, Indiana, SUNY in NY, California until 2010.

With more than 70 works, the European retrospective takes in Neel's entire career, beginning with her earliest portraits, done in Havana, and her paintings from the 1930s, when she lived in Greenwich Village and was employed by the Works Progress Administration.

Slade students did begin their studies with a short stint of drawing plaster casts, but drawing and painting from the live model were the main focus of the course.

Finding no suitable life models, she began creating wooden constructions from which to draw; later she would start to imagine works that would simultaneously incorporate both painting and sculpture.

A few documented facts and a handful of recollections and legends provide a scant outline of the man: He was born in Libourne, near Bordeaux, in 1857, and worked as a sailor during his youth; from the sea he turned to the stage, with no more than minor success; at forty he quit acting, and after a tentative experiment with painting Atget became a photographer, and began his true life's work.

Featured Artists: CAYUCOS ART ASSOCIATION Opening Reception: FRIDAY, MAY 11th, 2018 from 5 pm to 8 pm Type of Art: FINE ART PAINTING & PHOTOGRAPHY Exhibit Beginning: MAY 1, 2018 Exhibit Ending: MAY 29, 2018 Location: GALLERY AT MARINA SQUARE, 601 EMBARCADERO, SUITE 10, MORRO BAY, CA 93442 Event Contact Number: 805-772-1068 Artist Statement: The Cayucos Art Association is committed to support art education at all levels and to encourage appreciation of the role of art in our lives and its importance to our society.

This course will serve as a practical guide to portrait and figure painting from life, from beginning to end.

He doesn't abstract from life, but begins with paint and color.

However, around 1920 he moved away from avant - garde art and began producing genre paintings of American life in the South and Midwest.

Monument was painted in the artist's studio in Woodstock, New York — where Guston had moved from New York City in 1967, and where he would live until his death in 1980 — during the most prolific period in his career, a burst of productivity which began in 1974 and was only curtailed by a heart attack in March 1979.

In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.

Beginning with a display of historic paintings and works on paper drawn from the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the futfrom the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the futFrom Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the futLife explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the futlife drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the futfrom the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the future.

In recent years, Mackler has begun making collage paintings built around women's fashion ads, and ink portraits of women that she draws from life, using hired models.

Krasner's collage work can be dated from 1953, a period during which she began to extensively rework her earlier painting, a recycling process she continued to exploit throughout her life.

Images emerge alongside a long forgotten refrain from a childhood rhyme, «one for sorrow, two for joy...» waking more, the radio tunes to another news flash... reports of momentous and confusing times, thoughts grasped then lost as opposing forces pull back the tides... «three for a girl, four for a boy» work begins and life has other plans, they feed in, inevitably, «five for silver, six for gold» the paintings become respite and a place of healing «seven for a secret never to be told.»

Known for his innovative blending of figuration and abstraction, deft use of color, «hybrid juxtaposition of high and low,» and inspired interpretations of folkloric myths and Roman poetry, the survey features six bodies of work including layered paintings from the 1990s, Afromuse watercolor portraits, and new works created since Ofili began living and working in Trinidad.

Several paintings approach allegory revisited as parody, beginning with Large Interior, W9 1973 (his mother and his lover), and the heavily promoted Large Interior W11 (After Watteau) 1981 — 83, with its awkward (and memorable) conjunction of five people from the artist's intimate life.

In 1955, living in Berkeley, CA, Diebenkorn began working figuratively, drawing from the model, painting still lifes, landscapes and interiors, much to the surprise of those who were familiar with his earlier Berkeley series of abstract expressionist paintings leading up to that point.

Focusing from the beginning on the nude and on portraiture, Barton also painted numerous still - life images and later essayed straightforward cityscapes and surrealist fantasies.

As Vance states «the composition [painted from a still life] begins to evolve and I am no longer looking at the source material.

From 1985, he spent over a decade living in Paris, where he began an intensive investigation of Old Master paintings.

In the 1970s Flack began painting still lifes and images from news media in a hyper - realistic style, and would become a pioneering photorealist painter.

A self - taught artist, he sketched and painted for pleasure from an early time, but it wasn't until the 1940s when a long battle with tuberculosis disrupted his life and job as a bank official, that he began painting seriously, and in 1951 he began exhibiting his work in public.

Afterwards, due to the encouragement he received from Turner as well as the English artist John Martin (1789 - 1854), he began to concentrate less on the portrayal of natural scenery and more on allegorical and historical themes, notably in two major series of paintings: The Course of Empire (1836, New York Historical Society) and The Voyage of Life (1839 - 40, Munson - Williams - Proctor Institute, Utica).

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

Through portraiture, landscapes and still lifes, Calderara depicted the people, scenes and objects of his native Italy — all suffused by a delicate, misty light inspired by the atmospheric glow of Lake Orta in Vacciago, where the artist moved in 1934 with his wife Carmela, and where he would work for most of his life.By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

These paintings from the last twenty years of Adolph Gottlieb's life - beginning with Black, Blue, Red, 1956, supposedly the first of his signature «Bursts» (but in fact a rather messy, hesitant version of the motif), and ending with the deceptively simple Max - Minimal, painted in 1973, a year before his death - raise the question of the late style of a modern artist and more particularly that of an Abstract Expressionist.

Her paintings from the late 60s and early 70s, studies of transparent objects, begin a life - long preoccupation with the nature and substance of light.

The publication charts Hepher's life and work from the 1950s to the present day, tracing a path that begins in an era of the last century that was highly suspicious of figurative painting, through to the recent re-evaluation and rise to prominence of post-war British Art within global art history.

Living illegally in a downtown office building where he had a studio, he began painting from collages of other people's images, everything from erotica to National Geographic.

PACEWILDENSTEIN These paintings from the last twenty years of Adolph Gottlieb's life — beginning with Black, Blue, Red, 1956, supposedly the first of his signature «Bursts» (but in fact a...

Artist Statement The Doll Babies series began from a desire to further connect to the objects I represent in my still - life paintings.

To begin with, in his early works, executed at the family home in Lancaster, Demuth borrowed heavily from Fauvism, in both his still life painting and figure painting.

During the mid-1960s, Latvian - American visual artist Vija Celmins began to move away from the Abstract Expressionist style that marked her early excursions into painting, and for a brief period focused on still life paintings and drawings, utilizing objects found close to hand in her studio space in order to sharpen her powers of perception.