Sentences with phrase «for these painters seem»

MT Some of the sources for these painters seem to be photography or movies.

Not exact matches

This suggests that Caccia was weighing in on the debate topic called the Paragone, in which painting and sculpture were compared, and here, surprisingly for a painter, she seems to take the side of sculpture.

Painters who definitely did make use of φ include the 20th - century artists Louis - Paul - Henri Sérusier, Juan Gris, Gino Severini, and Salvador Dalí; but all four seem to have been experimenting with φ for its own sake rather than for some intrinsic aesthetic reason.

Although different viewers will have different rankings for the various segments, it seems impossible that «On Work,» the visually extraordinary segment by clay - painter Joan Gratz will not rank towards the top of them in the way that it combines Gibran's powerful words with equally stunning imagery.

Jablonski, who always had a penchant for drawing, couldn't decide if he wanted to be a fine arts painter or an art teacher, the only paths that seemed open to him.

Very inspiring for me as I seem to be having a painter's block!

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

Soon, North Carolina country life began to seem small and he left for New York to make it as a painter.

It seems to happen every couple of years: An older painter with a sterling record, who has nonetheless escaped notice for a few decades, is suddenly taken up again.

I've been struck by the fact that contemporary advertising seems to know more about the kind of visual language Labille - Guiard utilized (and for that matter, Johannes Vermeer and other golden age Dutch painters) than they know about contemporary painting.

Unlikely as it seems, this artist, known for many decades as a Pop painter whose canvases throng with violent, sensual imagery amid bright fields of color, began her career working exclusively as a sculptor.

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.

De Keyser and Bishop seem to have chosen a kind of internal exile as painters, or maybe a better metaphor is that of the mole, in the espionage sense of the word: for decades quietly undermining the system they belong to with hardly anyone noticing.

Pleasant, PA USA) Seems to be the first book that truly begins to cover the New York Crowd with any thoroughness... would truly like to have seen representative works by all the painters covered (perhaps in a series of addenda???) Otherwise an invaluable book for reference of that most fruitful ten years in American (and perhaps world) art history.Best and Most Complete Study of The NY School to Date!

The subject of Israel and Palestine may seem an unlikely one for the Chinese painter Liu Xiaodong.

It fact, it seemed to me that in some cases, references to landscape, to figure, had for some painters created a more decorative picture than the abstract styles had.

I feel that a lot of representational painters these days are afraid to paint about their genuine feelings or to engage in a genuine discourse about their lives for fear of seeming nostalgic or sentimental.

As a painter who has for so long been concerned with the actual touch of brush on canvas, the medium of the photograph seems so inadequate.»

It may not seem that way, for no painter belongs more to New York between the wars.

Salle seems wise to leave most of his negative opinions unpublished; devoting so much time to something that you don't like is probably bad for the outlook of a painter.

It seems to me that for most part, the best paintings throughout history establish their particular light almost as a byproduct of all the other concerns that painter had, which may account for what I see as a consistency in how that light features across entire outputs, because it is almost incidental.

The pairing seemed almost inevitable: the glamorous dealer who launched art stars with big dreams and a healthy disrespect for decorum (like Julian Schnabel and Jean - Michel Basquiat), and the ultimate outsider painter who stubbornly fought off categorization...

The Museum of Arts and Design might seem an unlikely choice of venue for this event, one of the first museum surveys of Mr. Estes» work to appear in the city in many years, and the first MAD exhibition devoted to a painter.

The north - west of England seems to have produced a host of oddball painters during the dreary post-second world war years; one thinks first and foremost of Salford's LS Lowry, a painter best known for his depictions of matchstick men in industrial districts, but whose less familiar late seascapes and almost perverse girlie fantasies are now recognised as far from provincial.

For two and a half decades, the painter Dan Walsh has been dipping into the visual vocabulary of Minimalism — squares, grids, lozenges, bands — to create deceptively simple jewel - hued canvases that, when the eye lingers, seem to pulsate and bulge into space.

It seems among living painters in France, I am now the second - best seller; only Pierre Soulages sells for more.

One could settle for a broader umbrella, and label him a figurative painter, yet that doesn't seem a perfect designation either: «I've been grappling with making figurative paintings in the last seven years,» he confesses.

It has invited contemporary artists to respond to its collection before, but with Chris Ofili and Mark Wallinger involved in a collaboration with the Royal Ballet to celebrate the 16th - century painter Titian, this is a bit of a glamour injection for a gallery that has sometimes seemed to revel in an old - fashioned image.

Trained as a painter, Shibata brings an unerring eye for composition and color: streams of water seem at times like strokes flowing from a painter's brush.

This exhibition of the neglected French - Russian painter is a revelation: even a relatively limited selection of works encompasses Surrealism, monochrome abstraction and Fauvism while seeming to anticipate later developments in painting (check out the ghostly haze of La Petite Liseuse (1933) for a premonition of Gerhard Richter's blurred photo - paintings).

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

The way Gober talked about it, it was like he was wary of overemphasizing the place of the thesis — making it seem too much as of a piece with Bess's work as a painter — while at the same time he wanted to make a claim for the thesis as integral to the work.

While Boone got plenty of flack for supporting what seemed to some to be a pack of macho male painters let loose on the seemingly idyllic artist game preserve of SoHo, in hindsight it seems clear that Boone was probably getting hit with the same ire and trepidation anyone receives who is mixing up the game and clearing the way for a new set of aesthetics.

Unlikely as it seems, this artist, known for many decades as a Pop painter whose canvases throng with violent, sensual imagery amid bright field of color, began her career working exclusively as a sculptor.

It was a swell that has subsided somewhat in the last half decade, but for a time it seemed every painter was in search of their very own uncle Rudi — Gerhard Richter's beaming Nazi boy.

I didn't acquire my taste for the art world in what seems to be the popular way of doing so, by early exposure to art history and first - hand experience of the work of revered painters and sculptors; while I engage with the history and traditions of art in a serious way now, I was unconcerned with such scholarship just a few short years ago.

Fall Guide Robert Shuster Ingrid Calame Finds Beauty in the Grime James Cohan Gallery hosts the artist's Swing Shift An empty asphalt parking lot rates pretty high on the ugly scale, so it would seem rather improbable that a painter had chosen just such a spot — in the city of Buffalo, no less — for its beauty.

Throughout that time, Holland, an accomplished painter with a great eye for compelling compositions, moved from canvas to aluminum to fiberglass surfaces but the results never seem like painted sculpture.

Originally trained as a painter, his oeuvre includes drawings and paintings, which he took to another level by using himself as a tool for the process, eventually even as a canvas; however, he is best known for his sculptures and performances, but also videos, whose vertiginous effects always seem to have given way to ever more disorienting and ornate stories.

For many years, the market for the leading British modernist painter Ben Nicholson seemed to stand stiFor many years, the market for the leading British modernist painter Ben Nicholson seemed to stand stifor the leading British modernist painter Ben Nicholson seemed to stand still.

Up until Pollock started whizzing paint about and Warhol got fixated on soup cans, it seemed imperative for most American painters to get themselves over to Paris to connect with the art centre's innovatory spirit.

I don't see any reason you have to be consistent, but it is an interesting thing to reflect upon, that your paintings are completely freshly - painted sort of things; you don't go in for the kind of surface which certain painters do which seems to repeat old walls or things like that, cracks and seams and discolorations.

Nor will seeing the works of their students, even those who became as renowned as Robert Rauschenberg or Kenneth Noland, or «artist's artists» like Ray Johnson and Pat Passlof, or even simply figures who seem to have made a profound impression on the life of the school but less so on the wider world (for instance, Dan Rice, who arrived at Black Mountain intending to study musical composition but ended up becoming an Abstract Expressionist painter).

Interestingly, despite the fact that contemporary artists like Francis Bacon and Andy Warhol seem to be dominating the market right now, the two painters whose works have made the highest prices after adjusting for inflation are Vincent van Gogh (1853 - 1890) and Pablo Picasso (1882 - 1973).

But this other group of Fairfield Porter and Alex Katz and Jane Freilicher: it seemed to me that they were figurative painters or realist painters who didn't want to set - up in opposition to non-objective art, but — they were not opposed to this direction — but they wanted a space or a room for themselves.

A small - town boy from Nebraska, the son of a farmer and a truck driver, might not seem like a likely candidate for becoming one of New York's leading abstract painters in the 1960s.

Like black history painters before her, such as Robert Colescott and Kerry James Marshall, Ms. Abney has no answers for our problems but has concocted a beautified opus inspired by what seem like insurmountable troubles.

While Reynolds» practice of aristocratic portraits seem exactly matched to his talents, Gainsborough, if not forced to follow the market for his work, might well have developed as a pure landscape painter, or a portraitist in the informal style of many of his portraits of his family.

In Grieving Father, for instance, he seems to deprecate both his own alarm over malevolence and mortality and the inability of contemporary painters to address the larger issues facing humanity.

A preternaturally gifted painter whose continually surprising, psychologically attuned portraits (he worked as an aide in a mental clinic for years) are still only beginning to get their due, Henry Taylor often captures a sitter's character in unfussy - seeming brushstrokes.