Sentences with phrase «earlier paintings look»

especially the Wall of Light series, and that the earlier paintings look so very different to the more recent ones was more of a surprise than I expected.

Stubbs» earlier paintings look like cakes but also, in their deadpan way, seem to allude to the painterly abstraction of artists like Robert Ryman or Jasper Johns.

Her early paintings look as if they want to break free.

Olitski's early paintings look lovely, and I don't care at all whether their air of radicality is gone.

Not exact matches

They look completely flustered by the presence of Porzingis and Kanter in the paint, settling for perimeter shots early and often in the first quarter, and not looking inside at all.

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

The new indictment includes the earlier charges, painting a picture of Adam Skelos as an entitled son who looked to take advantage of his father's powerful perch atop the Senate.

And I am looking forward to my one - year - old (who is my early riser) getting a little older... he's in the climbing stage right now, and no paints are safe when he's awake!

Thank you so much to the paint crew that got up early to spray paint all of our t - shirts because they look saweeet!!!

I worked on a couple of pieces for the next MMS Milk Paint look book, but I was also playing around with a new milk paint color we'll be adding to the line, soon (early 2016)... Farmhouse White.

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.

Frankenheimer looked to the paintings of Andrew Wyeth for inspiration, and the hard edges and muscular camerawork of his earlier films gave way to tableaus of unadorned Americana.

There's a moment early in the seventh and final season of True Blood when Jason Stackhouse (Ryan Kwanten) looks at the writing on the wall — literally words written on a wall, spray - painted to the side of a building in a neighboring town which has been all but abandoned.

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.

I've had a car do that years ago and it eventually (the clear coat) began separating from the paint in sheets but it did look similar in the early stages.

But if you take a look at the image, you will notice it comes painted in red, white and black as an homage to the early 1980s.

As a result, the chassis is powder - coated gray to match the look of the earliest models, with bodywork available in six original 1957 paint colors.

Colors and interior are almost the same as the 99 Ranger from 13 years earlier Catalytic converter did not last too long Brakes were a bit spongy and needed an upgrade, but that may be from putting bigger tires on it Sound system was dated and the interior had few techie options Bumpers were painted and looked good on mine, but this option cost almost a thousand dollars

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.

During your guided visit, admire the paintings that remain on the walls, and look for signs of the early fast - food restaurants beloved by ancient Romans.On the quest for amazing scenery, combined with history and spirituality, you'll visit Montecassino sanctuary.

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.

Whilst early screenshots of the game in development painted perhaps a prettier picture than has been delivered — mostly in regards to the lighting effects, which have undeniably been dialed down — there is no denying that it's still a very nice looking game.

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

Brett Baker (BB): Your new small paintings look interesting - more abstracted [than earlier works] but still closely observed.

Going back to how you [Gooding] describe the earlier work, there was in fact a self - conscious desire to block off or direct the viewer's process of looking at it or looking into it, and this later evolved into a later stage in which there was actually an invitation to «look in», but in which at all times the viewer was encouraged to be aware that the painting was made out of real things, real physical layers, rather than illusions.»

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast; to his reliefs, sculptures, and assemblages created in a variety of materials; to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits, and a return to still life, this exhibition provides an in - depth look at the work of a unique and significant American artist.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

Organized by the Pennsylvania Academy of Fine Arts, this is the first in - depth museum look at the work of this lifelong Harlem resident with 90 paintings and works on paper from the early 1930s through the late 1970s.

However, because of my involvement with public art projects and queer identity in early, 90s, I decided to return to paintings with work that looked at the social ideas about the origins of one's sexual identity, often with black humor, of course.

The earlier paintings have an appropriately stylised and naïf Kitchen Sink / Ashcan school look where even the whites of the eyes have a dull, sallow - coloured flatness to them.

The book, edited by Trevor Schoonmaker, Curator of Contemporary Art at the Nasher, brilliantly presents a masterful look at the figurative painting, a selection of which can be seen in the next iteration of Soul of a Nation, which opened earlier this month at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, as well as in the exhibition catalogue, available from the Tate, which features Hendricks» painting «What's Going On» (1974) on the cover.

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.»

In 1982, the Museum organized an exhibition of 48 Lichtenstein paintings from 1951 to the early 1980s, the first to include rarely seen early works such as the iconic Look Mickey (1961).

My early paintings sought to recreate the energy, color and immediacy of the landscapes... to convey a more raw «painterly» feeling within the image, rather than recording a particular scene or looking on from a distance.»

MG So what attitude towards consumer culture did you see when you looked at early paintings of Polke's such as the Socks or The Sausage Eater?

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.

Fontana Contended in the Late 1930s Helen Molesworth: Don't Look Back: Eva Hesse's Early Work Andrea Rosen Gallery is delighted to present an exhibition of oil on paper works by Willem de Kooning, «baroque» ceramic sculpture by Lucio Fontana, and Eva Hesse paintings from the 1960s.

He notes that the artist's off - kilter, hand - painted geometry — unlike the hard - edge look created by applying and peeling off tape — places him in «a tradition that goes back to early abstract painting by Mondrian and Malevich,» adding, «I see his ties with Constructivist painting.»

The Incendiary Nocturne paintings lean heavily on earlier masterworks of this era, especially the Romanticist paintings of J.M.Turner (1775 - 1851) whose The Eruption of the Souffrier Mountains looks as though it was painted on an adjacent easel with the same palette of burnt umber and cadmium yellow.

Bloomberg's Scott Reyburn gets an early look at Christie's New York Contemporary sale lead lot, a $ 10m Yves Klein Anthropometrie painting that has been in the same collection for 10 years and is being sold because of the rising tide of Klein prices:

Early Mondrian: Painting 1900 - 1905 (W1, to 23 Jan) looks at the work that came before the Dutch artist's conception of the De Stijl style's pared - down abstraction, and prior to the move to New York that facilitated his fascination with the grid as a form.

American Art Students learn to look at visual imagery through an exploration of American paintings, sculpture, and decorative arts representing the colonial period, the Revolutionary and the Civil Wars, westward expansion, the early twentieth century, and the contemporary moment.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

But in the 1959 — 60 period she not only thought tough but also painted visibly tough - looking paintings in a way that, as Schuyler said, she hadn't done earlier.

(One wonders what this early «academic» painting looked like considering the conservatism of those institutions, especially at that time.)

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

Milne's paintings look back to an earlier, smaller scale of operation.

When Artspace visited Morris's immaculate Long Island City studio earlier this month, the artist — looking stylishly severe in a uniform - like black ensemble with a red belt that matched her lipstick — was getting ready for Basel while also working on paintings, researching her next film, and preparing for a solo exhibition that opens in October at the Museum Leuven in Belgium.

The nearly 400 color images in Draw a Family look back at the early genius that made Schnabel an international name and show how this New York artist continues to redefine the parameters of painting.