Sentences with phrase «figure painting ideas»

After this show, I want to paint more still lives and get back to some figure painting ideas.

Not exact matches

i have a painting at home which i did 5 or 6 years ago of a figure standing behind golden bars of light the painting depicts i mysef as christ bringing to surface the ideas of cosmic conciousness to to the world around us there is great symmetry in the simplicity of both paintings if christ was alive today he might well be looking at the world though caged iron bars

In the most recent series of paintings Lorraine is the subject or figure, but the ideas of abstract painting and contemporary painting supersede the image.

It was a moment when de Kooning turned to what he called the tableaux: «forcefully composed paintings with ideas of less frontal or variously posed figures in a well defined landscape space» (J. Cowart, «De Kooning Today,» de Kooning 1969 — 78, Gallery of Art, University of Northern Iowa, 1978, p. 15).

And as soon as I started using figures my whole idea of my painting changed.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

A recent painting by Katz, Saturday (2002), played out this Three Graces idea on a beach, with the added compositional trick that there is a fourth figure only partially visible behind the central woman wearing a vaguely»40s - style two - piece bathing suit.

Through the use of color and chiaroscuro and an ethereal sense of light and space, Hollowell paints images that play with ideas of foreground and background, figure and ground, and body and landscape.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

The works build through a stream of images and ideas with a dreamlike, surreal feeling, to which Heffernan contributes by titling each one «Self Portrait...» In her recent paintings, the figure set in a tortured landscape functions as a metaphor for contemporary experience.

Gilliam was a critical figure within the colour field school and is recognised for his unique idea of draping a canvas, painting on it as it hung without a stretcher.

Stoops makes paintings based on small clay figures that turn the idea of portraiture on its head.

I guess the idea of painting that view also came from painting some of the large ruins in Rome with the inevitably small figures next to them.

In the big figurative painting, The Boquet, which seems to me more closely aligned to the idea of «On Country Ground» than any other, a figure stands within a dark forest - green background.

Inspired by the painting Wanderer Above the Sea of Fog (1818) by the German artist David Caspar Friedrich, Kiefer's human figure dominates the landscape connecting two periods of German history, the imperialist ideas of the early 19th century manipulated by the Third Reich that lead to the Holocaust.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

«Everything that happens around that figure corresponds to another set of concepts, ideas, and logics about the ways in which paintings function.

As mentioned above, The Blue Nude, representing the idea of the disfigured body, or the simplification of the body into an ornamented surface, like in his painting Red Room, are just one of the ways that the figure could be viewed to represent different symbols.

Richter's large - scale paintings question the context of history painting in a society whose historiographic idea of progress has been significantly altered, hence Richter's lone, heroic figures depicted singularly or in an ecstatic mass.

Doug Reina's recent work involves painting the figure while exploring ideas about how to manipulate the treatment of the paint on the canvas surface.

In these particular paintings, the motivating kind of force was the idea of Salomé, which led to a certain kind of figure, primarily a female figure.

Based in Upper Montclair, N.J., Williamson's colorful paintings often feature floating doll - like figures conveying elusive ideas and emotions, leaving the viewer to guess at the meaning and significance of the «enigmatic and evocative» images.

One of the great figures of the abstract expressionist movement, Barnett Newman was an intellectual, developing his ideas in his painting, sculpture, and writing.

Each painting is a life - sized impression, taken directly from the male figure, creating a unique mark or symbol, which catalogues and indexes the body, yielding a trace (evidence), figurative language, narrating a way of being; producing a vocabulary conveyed through acts that strip popular ideas of blackness and convey its essence.

Certainly, the idea that he was drawing recognizable shapes, prompted by his unconscious mind, in the air over his canvas — or alternatively that such figures were deliberately veiled beneath overlapping whirls of paint — is beguiling.

The idea that portrait painting is a celebratory act has remained persistent since it was reserved for only the richest aristocrats, monarchs or biblical figures.

Painter Lezley Saar has long explored ideas of marginality and the cosmic in intimate paintings that feature figures both real and invented.

Here the blazing figures form a tight, bright jigsaw, while landscape and sky benefit from more variegated brushwork, as if Thompson at the end of his life was toying with the idea of breaking up his big flat shapes and painting in a more spontaneous manner.

which translates roughly as Everything should (will) disappear, will see Nadège Dauvergne present her works which portray figures from historical paintings and places them into new environments, creating associations from ideas and forcing us to ask questions about our relationships with money and the sacred in our modern society.

In his paintings he brings together figures and the disfigured, drawing and painting, spontaneous impulses and well thought - out ideas.

In the north gallery, which presents some of Lassnig's later white - and - pastel - coloured paintings of figures in her now hallmark style, one sees examples of some of her ongoing concerns: speech and muteness (Self - Portrait with Speech Bubble, 2006, where speech is a small, just visible breath on a cold morning) and the idea of growing up (and growing old) in contemporary society, as in TV Child (1987).

More recently, the artist has been painting the landscape of his native land, studying the effects of color and the changing seasons, while also returning to the idea of examining the tensions between figures in social groupings.

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.

The paintings start with a few elements prepared in advance: a field, a limited number of colors mixed and a simple structural idea (stuff on shelves, elements on a chart, a sandwich, composite figures).

Actually, it's a brilliant idea for a book, because Bryson now had the excuse to do what he does best: tell little biographies of historical figures, recount stories, paint word pictures and make witty asides.

Once you know the square footage of the property, you can figure there is a basic cost for flooring, paint, appliances, kitchen / bathroom, so you can come up with a basic idea of what it would cost to go through the house and «do everything».