Sentences with phrase «from cartoon figures»

Her imagery ranges from cartoon figures, indebted to Philip Guston, to nearly academic rendering, and cover many of the points in between, including German Expressionism, Neue Sachlichkeit and several kinds of portraiture, while making surgical asides to photo - realist exactitude.

Not exact matches

Hey, it all makes sense now: Marmaduke the newspaper cartoon panel is a leftover from the gender - stifled 1950s, and so the talents who created this flick — that would be screenwriters Tim Rasmussen and Vince Di Meglio, who wrote License to Wed and somehow still managed to get more work — figured it would be the proper homage.

He shares his discovery of his mother's old Underwood typewriter and how his storytelling evolved from «live» imagined stories with Fisher Price figurines to stick figure tales, then full length cartoons, and then longer text - based stories.

First - time graphic - novelist Weing has produced a beautiful gem here, with minimal dialogue, one jolting battle scene, and each small page owned by a single panel filled with art whose figures have a comfortable roundness dredged up from the cartoon landscapes of our childhood unconscious, even as the intensely crosshatched shadings suggest the darkness that sometimes traces the edges of our lives.

What Simon wanted for his seventh birthday was a set of action figures from Planet Patrol, his favourite cartoon.

Here is a image of Nova from the Ultimate Spider - Man cartoon, showing how close this figure fits the look of the TV show.

I love the cartoon style look, almost as if we are playing with figures designed by Nintendo, i feel like i have jumped into a characters shoes from Small Soldiers.

The Japanese artist — featured previously — is renowned for her adorable cartoon - like figures, crafted from wool materials.

It was a terrain where snippets of faces or figures taken from an ad, a cartoon, or a news photo, or that might be recognizable on their own — Alice, say, from Alice in Wonderland, or a figure from Goya, or Hopalong Cassidy — were magically interwoven with, or painted over, patches of fabric or abstract markings.

Entitled Billy the Goat (2018) the figures are inspired by Koziołek Matołek, a Polish cartoon character from the «30s, and his quest to find Pacanów, a town where it is rumoured they are making shoes for goats.

Turning painting into architecture, these works essentially function as political cartoons, populated by figures such as Barbara Bush, 20th - century religious prophet Aleister Crowley, and Dan Quayle, with themes ranging from the seven deadly sins and the four horsemen of the apocalypse to the great deluge.

This exhibition explores Lichtenstein's treatment of the human figure in works that proceed from his iconic cartoon paintings from the»60s.

Joyce Pensato starts with the most iconic cartoon figures — Mickey, Minnie, Daffy, Krazy, Stan, and Homer — but her representations of them couldn't be further from their usual plastic media.

South's paper constructions have a faint echo of the stylistic rendering of objects and figures in Philip Guston's paintings from his «cartoon» phase, which is also brought to mind by Floor / Ceiling's illumination by bare, hanging light bulbs, with the naked bulb a frequent motif in many of Guston's works.

This exhibition focuses on Lichtenstein's diverse treatment of the human figure in works that proceed from his iconic cartoon paintings from the»60s.

Dancers and female painters figure in her second New York gallery show, evoked in images culled from old photographs and rendered in simplified shapes that sometimes merge in a surface brushiness or are outlined in the manner of cartoons.

Pensato is less interested in the cartoons and comics these figures emerge from than the way these characters are drawn, and her depictions expand and exaggerate the most basic marks of figural form: here, the eyes of Felix the Cat loom large, disembodied and delineated in thick, brushy strokes.

The Cleveland Museum of Art's latest acquisitions include a Virgin and Child, a rare 13th - century wooden sculpture from the Mosan region of Europe; a Standing Female Figure, a clay figure representative of the Classic Veracruz period on Mexico's Gulf Coast; and Just the two of us, one of contemporary artist Julia Wachtel's first paintings to employ carFigure, a clay figure representative of the Classic Veracruz period on Mexico's Gulf Coast; and Just the two of us, one of contemporary artist Julia Wachtel's first paintings to employ carfigure representative of the Classic Veracruz period on Mexico's Gulf Coast; and Just the two of us, one of contemporary artist Julia Wachtel's first paintings to employ cartoons.

The figures are cartoon - like, sword - carrying «rectangles from hell,» as the artist describes in a recent interview on the Marfa Public Radio Station.

His tiny porcelain sculptures borrowed from high and low influences and featured likenesses of political and cartoon figures.

Born in 1987 Diggs began to pursue art as a child drawing everything from cartoons, comics, action figures and athletes.

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.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

Slater's approach to abstraction identifies, through his bold use of color and anti-form shapes and splotches, sources from popular culture via comics, action figures, and cartoons that frame his way of seeing.

In one instance, the figures have been painted on fabric printed with multicolored cartoon ghosts, which seem to waver and vibrate as the viewer moves from one side of the canvas to the other.

Some elements are from the world of fairy tales, some figures suggest cartoon series, or there are figures and scenarios that can remind us of the visual language of music videos.

Life size cartoon figures have been pulled from their two dimensional substrate and made into sculptural objects which are revealed as you walk around the installation.

The exhibition traces the development of Sillman's work over the past 25 years — from her early use of cartoon figures and a vivacious palette, through to her exploration of the diagrammatic line, the history of Abstract Expressionism, and a growing concern with the bodily and the erotic dimensions of paint.

The cartoon line moved effortlessly from the figure to landscape, always playing with problems of physical and emotional scale, frequently to humorous effect (trees are bigger than people; the figure's anxiety is bigger than the tree!).

While the shapes and figures, as in his previous video works, are drawn from cartoons and Japanese anime, Laric's subject matter has grown to also include animations based on live footage.

The other three figures are essentially cartoon characters: Wile E. Coyote, Roger Rabbit and the Kool - Aid guy from the drinks commercials.

In the Making pairs an example from Warhol's Myths series, a suite of ten portraits of cartoon figures and other cultural emblems, with a silkscreen by Condo that conveys his own hybrid style of the grotesque while reflecting the influence of his past mentor in surprising ways.

Thick, black outlines frame Baechler's carefully selected imagery that ranges from cartoon - like figures to ordinary objects like candy and flowers.

Made on canvas stretched over wood panels, each painting in KAW's new series of shaped paintings takes on the silhouette of a familiar figure from animated cartoons and comic strips.

Lin's cartoon - like figures are usually cats that reference iconic felines from the comic pantheon and appear as mascots integrated into the screen of Lin's abstract gestures — even they can not escape the artist's desire to enrobe all available surfaces in veils of pattern.

While Mantegna inspired him, Webster also seemed to be recalling the vast spaces of movie crowd scenes, filled with teeming figures, from cartoons to monster films to historical dramas.

While the Canadian government publicly defends the freedom to publish cartoons that mock a religious figure and looks abroad to protect religious minorities from oppression, section 296 of the Criminal Code makes it an indictable offence to publish blasphemous materials in Canada.