Sentences with phrase «image than paint»

Not exact matches

FOR many wine drinkers, the word chianti conjures up images of red and white checked tablecloths, men (and often women) with an abundance of chest hair, and those squat, cane - wrapped bottles of brick - red wine more suited to stripping paint than accompanyi

This painting is what baptism feels like, and I think the image describes it much better than my words ever will.

Neither a mental image, nor a verbal image are any more successful in portraying the God of Israel than a graven image or painted picture.

Qualifying in Australia paints a stark image of Lewis Hamilton in a league of his own, but the chasing pack will be aware that his one lap advantage is much greater than any long run advantage.

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!

In exploring the international terrorist who took the title's nom de guerre, Olivier Assayas, in Carlos, focused more on the vast disconnect between the man himself and the rock - star image he cultivated than in necessarily painting a detailed psychological portrait.

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.

She also wants to paint a different image of African American families than the prevailing one that implies they are not interested in education.

Grades: Pre-K-2 This is the Web site for the exhibit (January 28 - May 7, 2006) at the National Gallery of Art and includes images of more than thirty paintings and drawings by Paul Cezanne, often seen as the father of modern art.

Those that did vote chose between candidates who had much more in common than the image highly polarized campaign ads painted.

The only image released so far reveals the concept's dynamic side profile, with details like the floating roof painted in a different color than the rest of the bodywork, the thin, horizontal light units, and a crisp crease crossing the entire side of the vehicle.

The 3 megapixel camera on the back is a little slower than we'd like to focus and to adjust the white balance (indoors we saw a yellow cast until the automatic adjustments kicked in) and with such a large image to paint on - screen, live preview can show a clear lag if you move the tab around.

Crystal blue water, white homes with blue painted doors and shutters... Doing a quick google images search, it's hard to believe there is more to Greece than picturesque Islands.

Our grown children have their own roads to follow and we are supportive but Bob and I trust in our inner voices to do what is right — we live simply and with more authenticity than I ever imaged I could — we'll never be rich but «all we have is all we need» and I get to draw and paint almost every day!

I thought that Art Tutor didn't allow us to use digital images, and to be honest, I think that using something like this is not all that far from going digital... As far as Dragongirl's comment that she was sure Phil did not mean us to use this tool to make our paintings look better than they actually are in «real life», well, just look at his demo of how to use Pixlr and see how much better the cropped, colour enhanced, brightened, pictures look at the end compared with the «original» photos and it's obvious they are different (otherwise why go through the process if not to make a difference) AND they have more impact, i.e. are BETTER than before.

It has been a wonderful example of placing the brush and colour to create the image rather than plying the medium with paint.

Though one of them paints images and the other does not, one might well feel that they have much more in common than either one does with a painter who prefers to work on a grand scale and with reference to important public issues.

In this painting, which is larger than this image suggests, the circles around the eyes are so flawlessly painted I could never find the lifting of the brush on the left one.

If the artist is using geometry to construct a painting, like so many since the early 1960s, it feels more like doing math than if the artist shows a square as an image floating in a field, like a character in a graphic novel.

Sylvester countered remarks by various critics that the artist's work was closer to sculpture than to painting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting» (Sylvester, «Young English Painting», The Listener, 12 JanuarPainting», The Listener, 12 January 1956).

Bringing together more than 90 works from pubic and private collections, the exhibition features paintings and works on paper spanning the early 1930s through the late 70s, from his early depictions of African masks and figurative works to the abstract images for which he is most recognized.

While Schnabel has been making paintings with spray - paint for more than thirty years, the body of work on view in Enigmas remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original.

The «anchored» quality of paintings as images «other - than», along with their peculiar relationship to time or duration, are aspects of the discipline that I remain keenly interested in, despite any changes my work has undergone.

My early paintings sought to recreate the energy, color and immediacy of the landscapes... to convey a more raw «painterly» feeling within the image, rather than recording a particular scene or looking on from a distance.»

Yoan Capote is quoted in the wall text by his painting as saying, «The sea, for me and for a lot of Cubans, was like a wall, more an image of isolation than a beautiful place.

25, 2016), this long - awaited volume includes images of more than 100 paintings — portraits, landscapes and interiors — from throughout Marshall's 35 - year career and essays by the artist, Elizabeth Alexander, and Helen Molesworth, among others.

The difference is that, rather than drilling into the solidity of Mont Sainte - Victoire, as Cézanne did, constantly honing the same image, Walker's paintings are extravagant rearrangements of the visual cues that make the sea the sea, the sky the sky, and the sun the sun.

With more than 30 major paintings, the exhibition follows Aho on his artistic journey from dramatic images of the New England landscape to energetic, freely brushed abstract compositions inspired by his responses to nature.

Reminiscent of aerial photography, the Weather Paintings are mysterious images photographically printed as an aerial view of the land, creating a disorienting sense of sight so that the viewer feels suspended above rather than being on the ground.

The paint looks like it was erased rather than applied, the erasing of an image of the artist perhaps, yet the brush strokes and the dimensions attesting to the artists presence, and body.

Nor do I think, like Sam, that «Red Label» is a flat image; I think it has, along with quite a bit of Smith's very early, freely - brushed but clearly structured work of the late fifties, more spatial «life» in it than much of the stuff that came later, work that attempted to wed painting to literal three - dimensionality.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

The nature of the exhibition is such that sculptures, paintings and installations transition from prop to image to art object, staging an enquiry into whether these fictional depictions in mass media ultimately have greater influence in defining a collective understanding of art than art itself does.

In an increasingly visual culture in which the mediation of images is more than ever in question, Crosby's paintings are a testimony to the complex process of creating and receiving an image.

The images» continuing power, more than 60 years later, to speak about race and violence is being demonstrated once again in protests that have arisen online and at the newly opened Whitney Biennial over the decision of a white artist, Dana Schutz, to make a painting based on the photographs.

A new exhibition of the artist's work features more than 50 collages, paintings and hand - painted serigraphs considering girlhood, self - image and the dysfunctional legacy of colorism.

Joffe ennobles the people she paints by rehabilitating the photographic image but, crucially, recognises that it is paint itself — its spatio - temporal complexities rather than attendant theories or sociopolitical ideas surrounding subject matter — that keeps us engaged.

«I have worked with my own likeness since the early nude paintings from the 1970's through large naked images of myself done more than 30 years later.

Chiura Obata: An American Modern, a major retrospective of his work, features more than 150 watercolors, paintings, prints, and screens, including images he produced during internment at the Topaz War Relocation Center, located sixteen miles from Delta, Utah.

Actually, the spectral realities glimpsed in the 1962 — 64 silk - screen paintings feel less like images than afterimages — traces left in the eye or mind when the original source is no longer there.

Rather, as Noland said in a recent conversation, they wished to develop»... a less codified way of painting in which materials were dealt with in terms of texture, color, even pattern, rather than in the service of gesture or images.»

These sewn sutures further accentuate the paintings as physical, constructed objects, rather than flattened, two - dimensional images.

It is this discovery that I hope each viewer can make too from my painting, seeing the image as more than just everyday subject matter.

The subject of the work is the before and after, the past and future rather than the present — the painting as a paused image or spike on a timeline.

Stocked with more than 100 of Johns's seminal paintings, sculptures, prints, and drawings, this retrospective sheds light on the innovative materials and techniques, pop images, and themes that frame the six - decade practice of this towering figure in American art.

As in LaRiviere's painting, images frequently appear flatter and shallower than those that are painted to appear as if they were observed in the real world.

Less photographs than they are paintings using photographic materials (paper and light), the images resemble beautiful fairy - scapes, or reflections on still water.

(Though I still think the idea of stretching the mandate that no other artist's work be shown in the Clyfford Still Museum by showing the threads between Still and Van Gogh in images accessible via iPad, rather than physical Van Gogh paintings sharing the galleries, doesn't work.)

In 1953, Rauschenberg embarked on the «red paintings,» in which collaged elements acting as discrete images rather than merely textural interest took on their own life and importance within the painting structure.