Sentences with phrase «earlier paintings like»

Marshall's works simultaneously gestures towards opposite ends of the economic spectrum, thus evoking the same issues of class mobility and its inherent connections to race and representation as in earlier paintings like Great America.

Not exact matches

I do like his later work, but his early paintings are dark and boring.

The plump models painted by Rubens during the early 17th century look nothing like the bodies seen, for instance, in SI's Swimsuit Issue.

When BritainThinks asked swing voters in Watford their expectations for 2018 in focus groups earlier this year, they painted an almost universally gloomy picture of uncertainty, anxiety and division — in fact, it feels like the only thing we have to be proud of as a nation is the Royal Family.

In the earliest paintings of dinosaurs, from the mid-1800s, they writhe like beached sea serpents or slouch like reptilian potbellied pigs.

Viewers can see the microwave residue from the big bang «painted» across the sphere of the sky, and — after the data are translated for human ears — hear a version of what the early universe may have sounded like.

Images via TFS Forums It looks like Marc Jacobs still hasn't gotten over that time earlier this year when graffiti artist Kidult spray - painted «ART» in giant hot pink letters across the designer's Soho boutique.

The songs on here are more upbeat and catchy than what we've heard from The Shins before, with songs like Name for You and Painting a Hole, and even the two «duds» I mentioned earlier.

Time gives birth and nourishes and then obliterates as it moves ahead, like the family which, in an early scene, prepares to move out of a house by covering murals and hand - lettered height charts with white paint.

I usually type out a short summary or try to set - up the plot at some point early on in my reviews, but I feel like it's a moot talking point because if you've kept up with the Marvel movies or have a good idea of what's going on in them, you don't need me to paint a picture about the Infinity Stones, the Infinity Gauntlet or the fight to save the universe.

Paintings and prints frequently carry particular meaning within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4

To measure historical empathy, we included three statements on the survey with which students could express their level of agreement or disagreement: 1) I have a good understanding of how early Americans thought and felt; 2) I can imagine what life was like for people 100 years ago; and 3) When looking at a painting that shows people, I try to imagine what those people are thinking.

One of the things I remember about the early Hondas was the almost jewel - like metallic silver paint they put on the wheels.

That it sported generic silver paint with gray trim and plastic wheel covers didn't help keep this car from looking like a throwback to the cheap cars that Kia built in the early 2000s.

Yet Holly sees enough in him to paint his portrait again and again over the years, while Dom, as an early teen, is drawn to him like steel to a magnet.

This is glass tinting, not painting, so the jars capture the light just like the original early 20th century Blue Ball jars.

There's a visual filter on that progressively renders the world between what looks like an early Monet painting and into a vibrant, richly detailed world in the foreground.

Things have changed so much that comparing those early games to recent releases is like comparing ancient cave paintings with the Mona Lisa.

I initially mentioned my affinity for games like Ico and Journey earlier in order to quickly paint a picture in the reader's mind of what kind of game Rime is.

In fact, my painting looks a bit jagged and like the early stage of a sculpture being chiseled out of stone.!

Like the black paintings, Mangold's early Areas were an art of chromatic nuance.

Mine reaches back to the early Renaissance panels of Sassetta and other Sienese masters, the small but powerful paintings of Mughal India and forward to 20th - century outsiders like Martín Ramírez and Forrest Bess.

Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized figures found in the paintings that Jan Müller was making around this time, or Bob Thompson just a little later.

As he abandoned painting for sculpture in the early 1960s, he wrote the manifesto - like essay «Specific Objects» in 1964.

Additionally, like much early feminist art, McNeely's paintings were largely ignored by the gallery system, finding a venue only in the cooperative galleries.

If the artist is using geometry to construct a painting, like so many since the early 1960s, it feels more like doing math than if the artist shows a square as an image floating in a field, like a character in a graphic novel.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an end.

Wintersnow Snowinters signals Snow's first painting show in some two decades, so several earlier watercolor works (like Sleeping vs Waking) reappear here as fully - formed oil on panel compositions.

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

Bacon: We were talking earlier today about how, since the whites in your work are not painted, by you at least, since the canvas comes to you from the manufacturer already primed with that white ground, and then you didn't paint the top, but you painted the bottom half, it functions almost literally like a bank, right?

Viewers will be able to see pieces ranging from her early paintings inspired by the use of LSD to later works such as her «What It's Like What It Is # 3» (1991), a large scale mixed media installation addressing racist stereotypes.

Like my real early stuff, the first color paintings really came out of trying to paint grids, but I couldn't work out a grid.

To see it together with other things that I hadn't seen, like the very large paintings and some of the very early things, was both a confirmation of his stature and an eye - opener.»

Most of these are more intimately scaled than the early monumental «Fuck» paintings, 1969 — , for which the artist is perhaps best known, doing away with some of the optic strangeness of those works and replacing it with something similar to, but not quite like, eroticism.

Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx look.

Brown nurtured an early fascination with the «scary» art, such as Francis Bacon, and would rummage her parents» art books for the very darkest pictures, e.g. a particular painting by George Grosz of a butcher shop with human meat in it: «I had sneak looks at it, like you might look at Playboy or something.»

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

Johns» early works, like Rauschenberg's Combines, engage with the vocabulary of AbEx painting.

As I mentioned earlier, I feel like painting with other artists is the best way to learn.

Earlier on, I was separating those two ideas in my mind and in this new dialogue with the work and coupled with the contemporary moment where I feel like my body is forcibly reinscribed back into the paintings; it just had to claim that space.

Bradford: That one is called «Friendly Skies» I've been working on it for two years.I enjoy how your paintings earlier paintings had an incredibly layered quality - with what feels like thin pigments on top of thin pigments.

Like many others, I have often repeated the orthodoxy that the early 1980s saw a return to painting, a rediscovery of figuration, an embrace of dramatic content and an explicit engagement with art history.

When I saw his architectonic relief paintings of the early seventies with new materials like wood, felt, and different levels, slopes, and planes they struck me by their relationship to Picasso's Synthetic Cubism and Picasso's Cubist sculpture and Jackson Pollocks» cut out paintings like Out of the Web.

Exhibited across two floors of the gallery, the paintings here range in scale from the tablet - sized Boardwalk Barter a reminiscence from the artist's earlier years selling his work in Venice, California, to one of his signature, immersive flower - like explosions, which can be read as either the conceptual origin or the end point of all other work.

The paintings of the early 80s are quieter in terms of their sculptural dimension, tending back towards flatness, and yet the scribbly, jittery outlines of their shapes possess a comparable sensation of movement to those of 1971, like tectonic plates that have just begun to rub and unsettle.

Instead of parsing the grays and the colors into individual squares on the same canvas like earlier Concentric Square paintings, Stella combines them, resulting in a dizzying clash between the two essential components of color, hue and value.

Would their signature motifs have gone down in art history had they lived fifty years earlier, or could they paint like this only because greatness has come and gone?

But the lackluster notes are tempered by cool weirdness: A Mai - Thu Perret rattan sculpture of a donkey; a suite of early - 20th - century drawings by Marguerite Burnat - Provins in which cats or swans play with disembodied human heads; and funky, small sculptures by David Hominal which place discrete objects — one of which looks a whole lot like a used crack pipe — atop painted metal cans.

These drawings without marks — like his early paintings without marks — question assumptions around a category of art.

The personal meant realistic, easel painting, and smaller early works have the dark colors and heavy outlines of painters like Ben Shahn.