Sentences with phrase «interesting painting problem»

To me, the most interesting painting problem is predictability.

Not exact matches

Kindles will be a problem for the scenario I just painted, as Amazon will have no interest in making it easy for a competitor to get their books onto customers» Kindle devices.

I read this with great interest but there is one problem that is not being addressed here: buying art online can lead to some huge disappointments — Almost any painting / drawing can be made to look much better posted on facebook than when you see it «in person», plus (many) online artists can puff up who they are and their backgrouns — which entitles them to inflate their prices.

Whereas the forms of his wooden panel paintings feature the careful precision and hard - edges of geometric abstraction, the imperfections and «accidental noise» innate in Biltereyst's cardboard relief prints appear exploratory and rapidly configured, expressing not only the raw energy of creative problem - solving usually revealed in artists» preparatory sketches, but also an interest in graphic elements battered by everyday use, exposure and interaction.

TM Aside from a little stage dressing, the silhouettes are interesting to me because they get us around the problem of the ingredients of the landscape painting.

Although Baselitz has always worked with specific imagery (portraits, nudes, animals, landscape), he professes equal interest in pure painting - in problems of shape, color and line.

How did you become interested in that viewpoint and what are the problems of painting people from above?

«The problem that interests me most in painting — it's a tough problem — is to find that 50 - 50 balance between form and humor which many great masterpieces of literature have achieved... The cornerstone of humor is sex because sex is so violently spiritual and so violently physical at the same time... You laugh at a puppy dog or at the backside of a woman, not because it's funny, but because you love it,» stated Copland about his employment of irony in his paintings.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

But although his concerns were part of a larger dialogue in painting that was going on in France at that time, he was something of a unique figure unto himself, similar to Robert Ryman here, a painter with concerns rather too idiosyncratic to really provide a direction, more simply marking a point where a number of problems cluster and are addressed in an interesting way.

The only «problem» is that the site itself is so interesting that it could absorb all the spare time there is for actual painting!

But then the ability to identify the problems in your paintings also depends on your willingness to make failed paintings: a painting is as interesting as its problems.

The problem with that is, my friends could make sitting around watching paint dry seem interesting, so I don't know if my co-op fun is a credit to the game or not.