Sentences with phrase «image into the paintings»

Butler notes: «Hauser operates in a systematic sequential fashion, turning drawings into digital prints, enlarging the images into paintings, and using images of the paintings to begin new prints and repeat the process, cannibalizing earlier imagery as she goes.

Previously consisting of animals to a great extent, her art became increasingly personal in that she began to add her own image into the paintings.

In her studio, Williams transforms these images into painted nightscapes illuminated with the unusual glow of street lamps, house lights and strings of holiday bulbs, all casting their glow onto surrounding objects.

Hartigan's interest in incorporating an eclectic range of images into her paintings — including mannequins, coloring books, images from film, Old Master paintings, and store window displays — vitalized her art but eventually caused the influential critic Clement Greenberg to withdraw his support.

In transferring the source image into painting, the artist leaves the perspective unchanged and also retains the reduction to grayscale.

Comas observes and first records these modern ruins photographically, then translates the images into paintings, creating pixelated landscapes that incorporate the tensions inherent between urban — and social — transformation and deterioration.

In fact, silkscreen greatly extended his range, as it enabled him to incorporate almost any image into his paintings and drawings.

Casteel decided to turn the impromptu image into a painting.

Using the computer as drawing tool, Burke constructs his images into paintings:

Appropriation and the Archive: In the early 1960s, Robert Rauschenberg and Andy Warhol began to incorporate photographic images into their paintings, establishing a new mode of visual production that relied not on the then - dominant tradition of gestural abstraction but rather on mechanical processes such as screenprinting.

Not exact matches

The paint - by - light images were produced by mixing the bacteria into a gel on a petri dish and placing them in an incubator exposed to projector or laser light.

On retirement in 2003 Rita began the Robert Hooke project, «to put him back into history» - give him images, raise his profile and obtain memorials for him in the City of London (St. Paul's Cathedral and Monument Square) and painted memorials elsewhere e.g. Gresham College, Open University, University of Oxford, Willen Church.

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and what better way to get back into posting than featuring an accessory that i waited almost 3 months for: this stunning hand painted bag with the image of my logo!

Strange images emerge from beneath the white paint: a stern - faced Christ in the throes of judgement; awed saints kneeling in admiration; the miserable damned being cast into the fires of hell.

The film is handsomely mounted and Lewin uses an interesting cinematic device to great effect: he cuts to full color when the new portrait is first unveiled and when the aged, diseased image of Dorian is revealed after his descent into depravity, which provides a visual shock to the black and white drama and enhances to horror of the grotesque mutation of the painting.

In that fleeting moment an image from the film turns into a Rothko - inspired painting.

Though technically not the first animated feature, the elaborately painted images and graceful execution of the Technicolor feature redefined the idea of what animation could do, pushed the possibility of color cinema into a new realm, convinced the audiences that animation could tell a story for adults and kids alike and launched the Disney legacy.

The film establishes that background with a chilling sequence of the 16th Street Baptist Church bombing in Birmingham, with four little girls walking down the stairs before the image erupts into one of abstract horror painted in smoke and flame.

What I really like most about this book is that the images are not limited to just paintings, there are dolls and even matches dressed and turned into crazy cult art.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

The final product is for each child to sketch a section of a Pompeii scene, add colour using pastels or paints and then for them all to be put together into one large image.

Broken Age is hand painted images, applied onto 3D models, put into a 3D world, which in the end still looks 2D and hand painted.

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NEW: CUSTOM BACKGROUND EDITOR - the previous reward tier plus a program that allows you to import any picture from your PC into your copy of the game, replacing the paintings in all indoor castle levels with the images of your choice.

This painting is very superficial with the perspective, with the illusion, to get you into the layers of the image, to the conceptual part, to the idea of the land and what has happened there.

When «Radical Presence» opened at the Contemporary Arts Museum, Houston, last year, it also included five works from Piper's 1975 series I am the Locus, collaged and painted Polaroids on which images of Piper as the Mythic Being are inserted into scenes of a crowded street.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.

... [snip much amazing thinking and description of great artists and their work]... Greg Allen's Destroyed Richter Paintings channel the elder artist's own private documentary images back into the photo - based painting feedback loop he once deemed «photography by other means.»

Upon entering the exhibition, the viewer passes through a threshold of a floor to ceiling installation of paint, images and process and into a gallery of walls painted bands of the color spectrum that dissolves to white.

For this new body of work, the artist has translated her earlier paintings into ASCII, a character - based image encoding system developed in the 1960s, and then, using laser stencils, applied the data to gesturally - painted surfaces.

Each painting or drawing, whether a broad landscape, a single tree or a still life, seem to coalesce into a single, deeply felt image.

Shōhaku transformed more conventional representations of the dragon found in the traditional Japanese mythological figures of the Cloud and Dragon paintings into fantastical images where the mythological being verged between hideous monster and an abstract anamorphic form.

In keeping with his thorough investigation into image and reflection, the exhibition will include some of these objects, together with four paintings from the series Self Portrait with Skull Hat.

His paintings are expressions of colors that breathe life into his bold images, his recent sculptures bear traces of his fingers that have shaped their forms, and his drawings capture the spontaneity of daily thoughts.

Over the past twenty years, she has employed a diverse array of techniques and vocabularies, ranging from the cheerily clumsy figuration of folk painting to imitations of digital image editing (an interest that has also extended to the incorporation of digitally printed wallpaper and conversational text elements into her canvases).

These paintings have been juried into exhibitions and art shows of National and International scope, also I have added an Original Art collection for these works only 1 image will be made and sold.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

I think the images and forms from both prints are going to double back into the paintings that are in process in the studio.

His large color - field canvases, made entirely with spray paint, contain hallucinogenic and elusive visions, hinting at images, which never quite come into focus.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

A striking group of late inkjet paintings, combining dozens of images taken at home and abroad through the use of digital technology, reveal how he continued to innovate right into the twenty - first century.

It becomes even more ironic if you consider that Tuymans's work has always involved research into the reliability of images, and the difference between paintings and other types of images.

«I think that painting is a kind of alchemy... the paint is transformed into image, and hopefully paint and image transform themselves into a third and new thing... I want to catch something in the act of becoming something else» — Cecily Brown «When I reach for the right colour at exactly the right moment, that's when I know it's going well, that's the feeling I'm striving for.

Since the infancy of cinema, when moviegoers would watch in disbelief as two - dimensional images leapt into life, painting and film have enjoyed a fruitful if sometimes fraught relationship.

Starting with lost and «abandoned» footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.

He has disturbed the original image by painting or carving into the printed background, enhancing the atmospheric quality created by the view of this vast, unpopulated landscape.

These works, which completely eschew paint are full of mystery, the original figurative image being progressively buried into the surface.