Sentences with phrase «feel of a fine art painting»

Featuring an iconic image of a baseball, this giclee print on canvas has the look and feel of a fine art painting and comes ready to hang.

Featuring an iconic print of a classic soccer ball, this giclee print on canvas has the look and feel of a fine art painting and comes ready to hang.

Featuring an iconic image of a classic basketball, this giclee print on canvas has the look and feel of a fine art painting and comes ready to hang.

Featuring an eye - catching floral motif, this giclee painting has the look and feel of a fine art painting and comes ready to hang.

Not exact matches

Selected group exhibitions include NOW - ISM: Abstraction Today at the Pizzuti Collection (Columbus, Ohio); Alice Konitz, Pamela Jorden, Jeff Ono at Samuel Freeman Gallery (Los Angeles, CA); Forms of Abstraction at the Irvine Fine Arts Center (Irvine, CA); The Working Title at the Bronx River Art Center (New York, NY); Themes and Variations at the Torrance Art Museum (Torrance, CA); and (Keep Feeling) Fascination: Recent Abstract Painting in Los Angeles, Luckman Gallery, California State University (Los Angeles, CA).

The paintings of Morris Louis (1912 - 1962), temporarily on exhibit at the Museum of Fine Arts, embody the contemporary feeling of bewilderment at the task of understanding a world which continually eludes rational explanation.

Early on, I started to paint in a more commercial and illustrative manner, which felt completely liberating, as I was no longer struggling with the ideological weight of representation in fine art.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

In recalling early Renaissance masters, still life, anatomical studies or film noirs images, Auburtin produces objects and paintings that toy with reversible feelings like seduction and repulsion, training and perfection, luxury and death, beauty and deformity, etc... Graduated from ENSA Nancy (Fine Arts Academy of Nancy).

SELECTED SOLO EXHIBITIONS 2016 Jonathan Ferrara Gallery, The Invisible Side of the Universe, New Orleans, LA 2015 LSU Museum of Art, Shaw Center for the Arts, Margaret Evangeline: On War, Baton Rouge, LA 2014 Eli and Edythe Broad Art Museum, Sabachthani, Lansing, MI 2012 Heriard - Cimino Gallery, Dreaming In Quicksilver, New Orleans, LA Kim Foster Gallery, As - If, New York City Stux Gallery, Timebomb, New York City Bertrand Delacroix Gallery, Everyday Magic, New York City Eleanor D. Wilson Museum of Art, Bayous and Ghosts, 2 - person with Hunt Slonem, Roanoke, VA Butters Gallery, Recklessly Blooming, Portland, OR 2011 Cohn Drennan Contemporary, Steel, 2 person with Suguru Hiraide, Dallas, TX 2010 Heriard - Cimino Gallery, Writing to Alexandrie, New Orleans, LA 2009 Elizabeth Moore Fine Art, Hot House, New York, NY DTR Modern, Distinct Conceptual Voices, Boston, MA HPGRP Gallery, A Feeling in My Bones, New York, NY Olin Gallery of Roanoke College, Margaret Evangeline Paintings and Video, Salem, VA 2008 The Ogden Museum of Southern Art, Silver Bullets and Holy Water, New Orleans, LA Byron Roche Gallery, Chicago, IL DTR Modern, Steel Canvas, Boston, MA 750 7th Avenue Exhibition Lobby Margaret Evangeline: Large Paintings and Works on Metal (1998 - 2006), Curator, Helen Varola, New York, NY

Where Clouds Disperse, the United States» first major show of paintings by Korean modernist Suh Se - ok, makes the sometimes frenetic Museum of Fine Arts, Houston, feel downright Zen.

Best Classical Artist • Martin Mooney (b. 1960) A graduate of the Slade School of Fine Art, Mooney's academic - style paintings have an unmistakably classic feel.

An explorer of multiculturalism, British artist is well - known for his depictions of traditional Japanese female entertainers or geishas, capturing their femininity and sensuality through a unique mix of seemingly incompatible themes and aesthetics likes traditional fine art painting and «messier» Western traditions like action painting and graffiti, combined in such a way that it feels incredibly natural.