Sentences with phrase «early paintings took»

Having been deeply influenced by Joan Mitchell, my early paintings took on an all - over approach to composition and color.

Not exact matches

«We've also seen early European tin toys that are handmade and hand - painted taking off in value,» Bertoia said.

He then took the catfish out of his shorts in the bathroom at PPG Paints Arena before throwing it on the ice in the early stages of the second period.

Antoine Walker took his game into the paint and gave Boston an early edge over the 76ers The experts were sure the Celtics were going to make a quick exit in the playoffs, and the reasons were obvious: Power forward Antoine Walker would hoist too many three - pointers; he and three of his fellow starters had no postseason experience; and their first - round opponents were the Eastern Conference champion 76ers, who had gone 10 - 2 against Boston over the past three seasons.

That is why a lot of Arsenal fans are so upset right now and why we wanted some serious transfer action after the shaky start, but Granit Xhaka has offered a different take on the early stages of the new season, reports Metro, suggesting that apart from the below par showing against Liverpool at Anfield, the Gunners have not been as bad as painted.

-- dedicated earlier this summer, local vandals took to their spray paint, a fresh, clean surface being the ultimate challenge to these miscreants.

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.

Taken together, these facts paint an ominous picture for prospective and early career scientists.

Scent is intimately tied to memory and I realized that my earliest memories were tied to particular scent: my great aunt's hand lotion that I would smell when she sang me to sleep, the smell of medicine I had to take as a baby, tempera paint from crafts my mom used to do with us when I was two years old, and so many others.

Fellow Oscar winner Mark Boal's screenplay takes off early on as the torture scenes paint the picture for the kind of story about to be told.

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.

Frida had seen the grayish marks earlier, but had taken them to be Jane's scribbles: the cave paintings of a seven - year - old.

Once the Smashbreaker ends, and I've earned bonuses for taking out all the bags of flour, or splatting paint on artwork, or accidentally finding the level's hidden «secret sauce» (again, welcome to the early 2000s when the phrase «secret sauce» was funny for some reason), the ball plunks down wherever I've ended up.

Kalm notes that «Having a career that took off in the early 60s, with the legendary Ferus Gallery, [Foulkes has] been in and out of fashion, but has maintained a consistent practice that pushes the boundaries of painting.

While Newman and Rothko abandoned their mythological paintings of the early 1940s to pursue a purely abstract visual language, Müller took the opposite course.

As I dug deeper I was struck by the sense of outrage and loss this painting aroused in so many people: The family of Lea Bondi, determined to reclaim the stolen portrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home to Vienna.

He enrolled in the Art Institute of Chicago in the early»70s, harboring grandiose plans to illustrate Dante's Divine Comedy in a series of 100 paintings and drawings for each of the 100 cantos that would take him a quarter century to complete.

When American Abstract Expressionism triumphed in the late forties and early fifties, the great paintings of 1914 - 26 by Monet took on new and prophetic significance.

She began taking painting classes at an early age focusing on watercolor and oil painting.

Take Michel Majerus's Tron 3 (ocker Pantone 143)(1999), which dovetails a silk - screened vignette of early digital - era graphics into the corner of a square of yellow emulsion: if you removed the silk - screened canvas and completed the square, it could have been a wall painting by Günther Förg, an artist of the gallery's original programme.

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.

His first solo exhibition took place at Kordansky's gallery in Los Angeles in 2013, a selection of early, Hard - Edge paintings curated by gallery - mate Rashid Johnson.

Conceived as an adjunct to painting in the earliest years of its development in the first decades of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy of its own (albeit one that often still took its cues from traditional painterly modes of representation).

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

There can't be many books that combine a formal analysis of mathematical patterns in Agnes Martin's painting with gems such as «I had been early to take up roller disco.»

So began Riley's impromptu exhibition tour, delivered to a gaggle of journalists shortly before its opening earlier this summer, which took in not just the history of her own curve paintings but a substantial chunk of art history, too.

He took to acrylic paints as early as the 1950s, and the black of alkyd resin marks the transition to his mature work in the early 1970s.

A leading figure of the Korean Tansaekhwa, or «monochrome painting» group, Chung is recognized for the innovative painting method he developed in the early 1970s, which the critic Kwang Suh Oh describes as «taking off / removing» and «re-painting.»

Still explains the «ascending verticality» and «aspirational thrust» of his canvases throughout his career as taking root in his early landscape painting which he described as «records of air and light, yet always inevitably with the rising forms or the vertical necessity of life dominating the horizon... And so was born and became intrinsic this elemental characteristic on my life and my work.»

It is one of the earliest examples of the artist's photo - paintings, based on a photograph of a shipwreck taken in March 1963 that he discovered in Quick, a German magazine.

Entire Diploma show of abstract paintings taken down by order of President of Royal Academy, Sir Charles Wheeler, but Diploma awarded on strength of earlier figurative work.

The cartoon - like aesthetic of his earlier works take to task celebrated milestones in the history of painting from Van Eyck to Picasso.

The Whitney has tried to reinforce its own early recognition of the most famous member of the School of Paris by devoting a room to photographs taken by the American painter Charles Sheeler of the 1923 Whitney Studio Club exhibition, Recent Paintings by Pablo Picasso and Negro Sculpture.

In Paris in the early 1950s, Copley developed a unique, ribald figurative style that bucked prevailing trends toward abstraction, taking inspiration from Surrealist painting, American, cartoon and silent - movie imagery.

Showing the artist's growth as a painter and his continuing interest in uniting painting and photography to test new strategies of figuration, the series, which debuted in London earlier this year, actually includes photos that the artist took himself and ink - jet printed onto the canvas (along with some photos he didn't).

In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space.

Astrup Fearnley Museet is proud to take part in this celebration by lending out the painting Cleaning Teeth, Early Evening (10 pm) from 1962.

The show takes the considerable risk of starting not with a punchy, scene - setting overture, but a roomful of intriguing, mostly small early paintings by key figures.

In these works, the Chicago - based painter takes as his subject matter words — to be specific, lines from the poetry of Blake, Dickinson, and (in the earlier painting) Gerard Manley Hopkins.

The latest exhibition at the Ludwig Museum in Cologne, «James Rosenquist: Painting as Immersion», has taken on added significance after the death of the artist earlier this year aged 83.

The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract paintings, sculptures and installations.

Oe might draw connections between David Hockney's series of swimming pool paintings and Ed Ruscha's photos taken in the mid-1960s and early 1970s.

If Bolduc's earlier work tended toward the decorative, the paintings he began making in the 1980s and continued through the 1990s took on a deeper symbolic significance, reflecting both the influence of his travels and his voracious reading (his close friend Michael Ondaatje once remarked that Bolduc was the best - read person he had ever met).

Since taking up landscape painting in the early 1970s, Rackstraw Downes has devised and refined a quirky brand of realism in which close attention to visual fact vies with an idiosyncratic conception of pictorial space.

Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall - based works that engage the legacy of painting, sculptural installation, and assemblage using manufactured materials like shea butter, books records, and incense.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Yet I found myself taken by how respectable some of them are, particularly those paintings from the early Eighties.

When I interviewed Alex Katz earlier this week, I was amazed when he told me that one of the large paintings in his current show at Timothy Taylor took him him three hours to complete.

It takes in his early, often extreme, performance art in China and New York - My New York for the 2002 Whitney Biennial, saw him donning a suit sewn from raw beef, imitating the bodybuilders he had seen who tried to adopt an appearance of strength to hide their real weakness and unease - and takes us up to his laboriously created, deeply affected ash paintings and sculptures, created with incense ash collected from Shanghai temples.»