Sentences with phrase «bigger paintings on display»

Sure, there are bigger paintings on display, some never to be forgotten images like the humongous Spencers, the must see in 3D Auerbachs, the sledgehammer power of the Bacons and the California sunshine easy of the Hockneys, but it's the Freuds and their delicate beauty that stayed with me.

Not exact matches

(Our anti-hero is big on theatrical displays of brutality, involving body paint.)

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- character creation lets you choose skin color, face, eye color and haircut - later in the game you can get glasses, pants, shoes and other stuff - start off by meeting Tom Nook and his posse of Happy Home employees - this includes Lyle the Otter and Digby the Dog, who give advice and help to keep the game moving forward - Lottie the Otter is Lyle's niece and handles the front desk in the game - she welcomes you every time you boot up the game and tells you what to do next - gameplay starts off with placing furniture, but quickly evolves into something more - place a house on the world map and cycle through seasons to see what you like - house can modified with different roofs, doors, colors and more - every animal unlocks new furniture for you to use - completing a lot of requests is vital to getting a lot of content - characters will react to everything that you place and remove in the house - three pieces of furniture must be in or outside of the house and these need to implemented into the final design - if you don't follow this rule, your animal customer will not approve - add wallpaper, carpets, lamps, signs, music covers, paintings and much more - by completing special objectives in the office, which you pay for with Play Coins, you can even expand the feature set - set background sounds, choose curtains, change up furniture, display fossils and get a bigger variety of fish and paintings.

The biggest compliment one can give the abstract paintings of Bill Scott, on display at Hollis Taggart Galleries, is that they'll spur fellow painters to run to their studios and get down to business.

Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.

A big, crudely painted marble - effect 3 - D model Loos House, based on the interior of Adolf Loos's house, occupies the centre of the display, and the ghost of Loos, with his modernist creed «Ornamentation and Crime» signalling a moral battlecry against superfluous decoration and «style», appears here to wag a duplicitous finger.

The Tate press office insists that a third of the art on display is still pre-1900, but most of such older works as are visible will be crammed into one big room of «iconic» paintings or shoved into the Clore gallery, which is supposed to be dedicated to Turner.

I have moved on since then, but seeing one of Richard Smith's big multiple shaped canvases at Tate Britain recently, I found I still liked it, and liked it more than Noland's Another Line, on display in the same room, along with a vast, vapid Olitski spray painting, more than 20 feet long, not nearly as good as the ones I've illustrated above.

The Technicolor Heart (The Big One), a 12 - foot painted bronze heart will be displayed on the adjoining Keeler Sculpture Terrace.

Selected Group Exhibitions 2008 Calvert22, London 2007 An Archeology, 176 Gallery, Camden, London 2006 The Triumph of Painting - Part 6, The Saatchi Gallery, London 2005 Dolore curated by Klarita Pandolfi and Harry Pye, Sartorial Contemporary Art, London 2005 404 Arte Contemporanea, Naples 2004 Mothers curated by Harry Pye, The Ragged School 2004 New Blood, Saatchi Gallery, London 2004 Girl on Girl, Transition Gallery, London 2003 New Displays, Saatchi Gallery, London 2002 It's only words, Ausgang curated by Liz Neal, Studio Voltaire, London 2000 RCA Secret, Royal College of Art, London Reviews Erotic Review, feature, May 2004 Tom Morton, Arena, June 2004 William Packer, Financial Times, 23 March 2004 Waldermar Janusceck, Sunday Times, 21 March 2004 Hephzibah Anderson, «Busy Lizzie», Evening Standard Metro, 19 - 25 March 2004 Jen Ogilvie, «Liz Neal at One in the Other», Time Out, 8 October 2003 unauthored review, «Liz Neal», Kultureflash issue 59, October 2003 Hannah Lack / Cath Clark, «Eyespy», Dazed and Confused, September 2003 Helen Sumpter, «Exhibitions and Exhibitionists», Big Issue, 12 August 2002 Francis Summers, «Kill Them All» Sleaze Nation, June 2002 William Packer, «Posers playing at being painters», Financial Times, 28 April 2001 Mark Wilsher, «Death to the Fascist Insect», What's On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect»on Girl, Transition Gallery, London 2003 New Displays, Saatchi Gallery, London 2002 It's only words, Ausgang curated by Liz Neal, Studio Voltaire, London 2000 RCA Secret, Royal College of Art, London Reviews Erotic Review, feature, May 2004 Tom Morton, Arena, June 2004 William Packer, Financial Times, 23 March 2004 Waldermar Janusceck, Sunday Times, 21 March 2004 Hephzibah Anderson, «Busy Lizzie», Evening Standard Metro, 19 - 25 March 2004 Jen Ogilvie, «Liz Neal at One in the Other», Time Out, 8 October 2003 unauthored review, «Liz Neal», Kultureflash issue 59, October 2003 Hannah Lack / Cath Clark, «Eyespy», Dazed and Confused, September 2003 Helen Sumpter, «Exhibitions and Exhibitionists», Big Issue, 12 August 2002 Francis Summers, «Kill Them All» Sleaze Nation, June 2002 William Packer, «Posers playing at being painters», Financial Times, 28 April 2001 Mark Wilsher, «Death to the Fascist Insect», What's On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect»On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect».

Last spring he opened a space on 26th Street with a large, imposing show of paintings by Picasso, Francis Bacon and Jean - Michel Basquiat, the most assertive display of big - name, big - ticket dead artists ever seen in Chelsea.

Each painting — usually a square, as were the three big ones recently on display at Team Gallery in New York City — is constructed of rectangular color areas, loosely painted, laid one next to the other like blocks of stone; the horizontal line of each color block is separated from those above and below it (and from the top and, usually, the bottom edges of the canvas) by a continuous or broken line of colored «mortar.»

Once a color is applied to walls and dries, its hue may not resemble what's on the paint chips (the sample, also known as strip chips or color cards, displayed at many paint, hardware, and big - box stores to guide shoppers).

«The couple already owned a big horse painting — one of them is from Kentucky — which we displayed on an easel, so that's where the pops of orange came from,» says Giles of the bright hue that adds a youthful vibe to the space.