Sentences with phrase «between painted image»

Rail: Similar to the relationship that lies between the painted image and the sculpted image that is evident in the work of Picasso, Matisse, and Giacometti.

Not exact matches

For purposes of brevity, let us simply take up the problem of medieval painting and sculpture, and ask if God - images here play a significant role, and, more particularly, ask if we can here discover a significant relation between God - images and Christ - images, a relation reflecting a uniquely Christian apprehension of the evolutionary movement and transformation of the divine process.

Others paint the contrast in images of modern luxury and wealth vs. modern misery and exploitation, emphasizing the causal connection between the two.

The continuity between the image of the Bible in the painting and the image of the French novel thus lies in its emphasis on the Christ - figure — even more apparent when one considers the subject of the biblical passage depicted in the painting.

He paints images of the bird while she flaps around in his room, and the connection between the two is wonderful.

In exploring the international terrorist who took the title's nom de guerre, Olivier Assayas, in Carlos, focused more on the vast disconnect between the man himself and the rock - star image he cultivated than in necessarily painting a detailed psychological portrait.

At the heart of why «Loving Vincent» stops short of satisfying is in the strange middle ground between still painting and moving image.

Those that did vote chose between candidates who had much more in common than the image highly polarized campaign ads painted.

She writes,» [Straub's] silken writing conjures images of old Hollywood, all red lipstick and Glenn Miller, but even more impressively, Straub paints a vivid portrait of a woman torn between her desire for fame and what she must leave behind to win it.»

Our reviewer called the book «a marvel,» going on to say that «Her silken writing conjures images of old Hollywood, all red lipstick and Glenn Miller, but even more impressively, Straub paints a vivid portrait of a woman torn between her desire for fame and what she must leave behind to win it.»

This vision of isolation receives its apotheosis in A Bar at the Folies - Bergère [6], perhaps the most poignant image of alienation ever painted, a deadly serious spoof of Watteau's Gilles in completely modern «naturalist» terms, the anonymous yet concrete figure trapped between the world of tangible things and that of impalpable reflections, existing only as a way station between life and art.

In this way Jones has assumed the mantle of Pollock's late paintings such as Portrait and a Dream and The Deep, mining the unconscious shared meaning between gesture and image.

In my opinion the more recent works of the late Jake Berthot are high water marks for a balance between image and the reality a painting possesses.

In 1986, four individuals held fractional shares in Duccio di Buoninsegna's «Madonna and Child,» a tempera and gold image that the artist painted on wood between 1290 and 1300.

Rather, you want to share images that have good meta - text, and descriptions that are rich in keywords but not spammy (the difference between «nighttime stars painting night sky art sparkle» and «painting of a sparkling night sky»).

Masterfully recreating a photograph whilst allowing the process of its painterly making to remain visible, Richter heightens the tension between painting and photography, abstraction and figuration, truth and fiction — presenting to us an image that is conceptually subversive as it is utterly magnificent.

Mary Ramsden's paintings explore the space between virtual images and the object.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

The work belongs within the trajectory of his painted series Women II through IV, which were realized between 1952 and 1953 and are variations on the same sinister, blatantly sexualized image of the female body.

Join us at this week's Lunch on Fridays talk to hear from visiting artist Kevin Appel, whose paintings explore the relationship between physical space, architecture and the painted image.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

Shōhaku transformed more conventional representations of the dragon found in the traditional Japanese mythological figures of the Cloud and Dragon paintings into fantastical images where the mythological being verged between hideous monster and an abstract anamorphic form.

Owens's work proposes a vital relationship between the physical process painting and the circulation of digital images in the age of the Internet.

The whole process was thus based on photographic images, while the issue at stake was the difference between a painting (an artwork) and a press photo.

Illustrated with full - color images of her paintings throughout, this publication includes a preface by Richard Powell, contributions from Marshall N. Price and Natalie Y. Moore, and a great conversation between Abney and curator Jamillah James of ICA Los Angeles.

It becomes even more ironic if you consider that Tuymans's work has always involved research into the reliability of images, and the difference between paintings and other types of images.

Layers upon layers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movement.

Patiently I have been merging those travel images with my conventional photography, creating a medium which is somewhere between a photograph and a painting.

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.

His pictures oscillate between «wounds» made on the original painting and the loss of the image.

Known for paintings of women, Lisa Yuskavage's images occupy the space between high and low; the sacred and the profane.

Between new media, new - image painting, neo-geo, and neo-expressionism, everything had to start with a word new that really meant old.

* The categories include: — Painting — Photography — Sculpture and Installation Art — Performance — Video & New Media Art * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, and bio.

An artist exploring the play between realism and abstraction, Gerhard Richter maintained a lifelong fascination for the power of images and painting's uneasy relationship with photography.

Influenced in part by images that depict power struggles, including Baroque sculptures (specifically Gianlorenzo Bernini) and Giorgio de Chirico's late «Gladiator» paintings, Yuskavage's «figures» hover or climb upon one another — caught in embraces that appear to shift between tenderness and violence.

Reed's entire oeuvre makes it clear that he places the painted image in a structural «in between»: Thus painting becomes, in the artist's cosmos, a normal and real part of our lives as well as a completely artificial and illusory staging.

Referencing 17th century Dutch still life painting and Asian animation genres, the artist creates video images that are caught between action and non-action, where narrative is both imminent and suspended.

Esopus 23 presents specially - commissioned projects exclusive to this issue including a series of images printed on translucent and metallic stocks by Marilyn Minter, a portfolio of die - cut works by Mickalene Thomas, a collection of images and documentation by Jody Wood relating to her ongoing «Beauty in Transition» series, a new series of paintings by Stefan Kürten; drawings by Karo Akpokiere dealing with the challenges of living and working between Berlin and Lagos, and a series of abstract photographic «landscapes» created in the darkroom by master black - and - white printer Chuck Kelton.

One of the major differences between this series and the earlier Evolutions series is, no images are attached either physically or visually to the painting edges.

Alternating sculpture — the medium in which he develops a broader spectrum, ranging from small three - dimensional creations to large - sized installations and hybrid objects — with photography, drawing, and mural painting, Irazu's work addresses the problems that occur in the relationships established between our bodies, objects, images, and spaces.

Tourje's process embodies a number of art forms including music and film, and is reflected in his paintings» tangential relationships between images.

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

Artist Statement Kato Shinya explores the dichotomy between new and old by painting graphic images directly onto historic cabinet cards.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

A little - recognized aspect of the work of Winslow Homer — one of America's most iconic artists — is the relationship between his painting and photography, and the role of the relatively new medium on his approach to image making.

Dynamic images fragment into mosaics of small abstract paintings, in which there is no longer a distinction between background and foreground.

During the 1980's my early work was associated with «New Image Painting» and significant exhibitions during this period include a solo show, «Journeying in Search of Hidden Treasures» at the Ikon Gallery, Birmingham, UK, «Problems of Picturing» at the Serpentine Gallery, London and «Between Identity & Politics — A New Art», Gimpel Fils, London and New York.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses on the artist's dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist's media - savvy black - and - white painted images: «Gestures go viral, escaping one painting and contaminating another.

Scanning (1963) is part of an extended series of works Robert Rauschenberg produced between 1962 and 1964 that combine silkscreened photographic images with lush, gestural passages of paint.