Sentences with phrase «creation of paintings which»

Not exact matches

«Astronomers now find they have painted themselves into a corner because they have proven, by their own methods, that the world began abruptly in an act of creation to which you can trace the seeds of every star, every planet, every living thing in this cosmos and on the earth.

As a small child I handmade presents, from little fimo baskets of flowers to paintings, embroideries and felt creations, which has evolved into Chain of Snow Daisies!

But what makes this creation extraordinary is the train, which was hand - painted with shades of pink and embroidered with satin flowers.

But in Nightwatching this is not merely a stylistic device but intrinsic to the narrative, which is concerned with the creation, interpretation and impact of Rembrandt's famously theatrical Night Watch painting.

When Rachel Kushner sat down to write her second novel, she had three images taped to the wall above her desk: A pretty young blonde woman, face painted for war, with an X of tape across her lips, which eventually became the cover image; a well - heeled engineer standing with his creation, a 1971 Ducati motorcycle; and two men racing by in a primitive cycle and sidecar, circa World War I.The...

- 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.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontations.

Her paintings, for which spends months accruing layers of oil paint, feature detailed brushstrokes and careful scraping in the creation of multiple perspectives and planes that investigate the materiality of painting.

You could not have known the truly vanguard applications of tools by Akili Ron Anderson in the creation of his works, and for which each of the five «small paintings» he created are tour de force works of art.

The archetypal compositional techniques Carrà admired in these works led to his break with the dynamism of Futurism and to his creation of paintings with a stillness and form, which he termed a «condensation of expression».

One could also argue that there was a bit of the machismo for which the New York School is renowned at work in the creation of all - black paintings (1).

Employing grand religious subjects as familiar narratives for his works, Furnas has developed a suite of six large - scale paintings presented in the downstairs gallery which depict the Creation myth, while upstairs, a series of contemplative near - abstractions evoke the vast desolation of the final flood.

Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting's creation.

While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works» «objectness.»

Anecdotal accounts describe the influence Richter's burgeoning friendship with Blinky Palermo had on the creation of the Colour Charts, as Palermo would visit the artist's studio and — without any visual knowledge of the painting — arbitrarily call out the names of the sample colour cards, which Richter would then incorporate into the work.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

Painting is a profound ritual of building complete universes out of modest materials; earth and seed oil are the mud of creation from which new worlds arise.

The piece, which consists of a flag collaged on canvas and painted over with encaustic, has been in the collection of Johns's assistant, the artist Mark Lancaster, since its creation in 1983.

But the artist and critic Brian O'Doherty did something of the sort in the 1970s, when he wrote of how far both the creation and canonisation of modern art had been informed by the dominant «white cube» model of gallery space, which had conferred a monumental aura on much large - scale abstract painting.

One of the key movers in the second wave of European gestural art, the Italian painter unveils 15 new paintings and six previous works — all of which are sumptuously textured and saturated abstract creations suffused with light and energy.

Yes, its manufactured by an artist, but knowing van Genderen likes to think about the chain of creation of a painting, it is difficult to know what to do with the final product, which has all the flavours of a Gottlieb, with its divided surface seeming to call for primal dualities between heaven and earth, sky and water, black holes and caves.

Marcello Lo Giudice, New Works Opera Gallery 791 Madison Avenue OPENS: May 10 One of the key movers in the second wave of European gestural art, the Italian painter unveils 15 new paintings and six previous works — all of which are sumptuously textured and saturated abstract creations suffused with light and energy.

Historically, AbEx has been broken into two tendencies: Gestural Abstraction (or Action Painting), which emphasized the energy of the painter's mark, and Color Field Painting, which focused on the creation of vast, seemingly floating areas of color.

But, Sooke argues, its creation was largely down to his success at the Royal Academy 15 years previously, and one painting in particular — Golden Hours, painted in circa 1864 and offered in the Defining British Art Evening Sale on 30 June — which «attested to his love of gold».

The artist breaks away such divisions and focuses on the creation of the minimal abstract objects — wall - mounted reliefs from foam shapes, which Adian beforehand covers with oil enamel or spray painted canvas.

I was captivated by Ono's notional art — especially her «instruction pieces,» which she describes as «paintings to be constructed in your head» — because it placed the onus of creation squarely on the «spectator.»

Since first showcasing her video work at her Whitney Museum of American Art retrospective in 2002, Rovner has pioneered the use of the moving image as a non-narrative, non-cinematic medium for the creation of painterly images and installations which, like painting and sculpture, conjure the timeless realities in a way the narrative arts can not.

It is a painting which is drafting in its own surface the pendulum movement rocking between thought and action, while revealing its own mechanism of creation and erasure.

She voraciously explores new methods of creation, with an established artistic vocabulary which includes paintings, combines, found objects, video installations, photography and performance art.

These deliberate and calculated gestures, which Richter employs to both apply and subsequently remove passages of pigment from the surface, are at the heart of his painterly practice, designed to dissect the nature of painting and produce a work that is part chance, part inspiration, part creation and part destruction.

In thinking about rules as acts of creation I have been recently drawn into a reinvestigation of logic based works such as Frank Stella's black paintings (in which the logic of the making fully embodies the resulting shape), Sol LeWitt's wall drawings (in terms of setting up a series of rules that can create a coherent visual structure), and incremental works such as Carl Andre's floor pieces (which also embody an element of time and distance because one is required to «travel» in order to view the entire work).

Soulages» fascination with black, the tone with which he had come almost exclusively to mark his canvases, became a practical obsession in 1979 with the creation of his first outrenoir (beyond black) paintings.

The driving force behind the creation of his work is the intuitive process of painting, in which Moses emphasizes gesture, mark making, and exploration of the painted surface.

Cone's willingness to reveal the rawness of her work's creation through her paint handling is contrasted with a tendency to suspend definitive meaning, thereby creating a viewing experience in which interpretation and material shift from canvas to canvas.

Typically, this involved the creation of large wooden structures - often taking up an entire wall - which consisted of numerous compartments filled with arrangements of «found» objects, commonly fragments of furniture, painted in flat uniform colours - black, gold or white.

The mountain is the surface, pigment, and subject of sculptures, paintings, and video installations in Neha Choksi's exhibition, Liberty Matter, which gestures between «affirmative acts of destruction» and non-productive acts of creation.

Gamble's expressionistic style, the ease with which she works the paint, and her willingness to experiment with media, foster the creation of un-knowable spaces and otherworldly moods.

The Demuth Museum is pleased to partner with LancasterHistory.org, in the creation of two exhibitions that will expand upon that landmark exhibition held here in Lancaster in 1912, which included over three hundred portraits of Lancastrians, many painted by the most accomplished artists of the day.

In addition to painting, Frankenthaler also made ceramics, welded steel sculptures, and set designs, but the related medium that most attracted her, and in which her achievement came the closest painting, was printmaking — especially the creation of woodcuts, hers counting among the greatest of contemporary works in that medium.

The conceptual paintings of the artist, constitute series of works, so - called pictorial corpora, which are connected with one another from the beginning of the process of creation onwards.

Close, who's paintings are based around constructed grids themselves, inspired Murphy to create a constructed portrait of the popular artist — «I immediately began researching the natural and man - made landscape of Portland which, at the time, I was pretty unfamiliar with — Murphy recently told My Modern Metropolis about his creations for the show.

Greenberg saw the clotted and oil - caked surfaces as reflecting the artists» existential struggle; Rosenberg saw the finished object as only a kind of residue of the actual work of art, which he thought lay in the «process» of the painting's creation.

The compositions of Bjarne Melgaard's (1967) paintings are dominated by organized chaos, which he has materialized via the momentum of creation: acrylic paint is poured on the floor and splashed directly onto the canvas.

The conceptual paintings of the artist, who was born in Danzig in 1986, constitute series of works, so - called «pictorial corpora», which are connected with one another from the beginning of the process of creation onwards.

The artist presents it at the exhibition as a wall object through which he studies the surface and the way in which we process the procedure of creation and perception of paintings.

The canvas was no longer considered a hermetic, independent object, but rather became «an arena in which to act» and the finished work was only a residue of the actual work of art — the process of the painting's creation.

Just as remarkable are his resin paintings on stretched fiberglass: the resin has a cure time of about 30 minutes which emphasized the spontaneity of creation.

I use photography and video continually probing the boundary between abstraction and figuration, developing a personal vocabulary in which painting, video, and sculpture coalesce in the creation of works rooted in the tactile quality of the material.

By utilizing her skill of painting in detail, which was acquired through her early career, her creations are brought to life.

The article further explains Hancock's epic saga of the Mounds and the Vegans, which serve as mythical creations in an ongoing narrative illustrated through the artist's drawings, paintings, collages, sculptures, and installations.