Sentences with phrase «into bright paint»

The whole craft is about dip dying the paper placemats into bright paint to form chaotic patterns on them.

Not exact matches

I'm a big fan of grey paint at the moment, we've turned our old messy bright yellow playroom into a smart (but still full of toys) library and given Zak's room a more grown up vibe with grey instead of blue.

This sweet crib, lovingly painted a bright and cheery yellow by Caroline of Armelle, brings an explosion of color into a pastel nursery.

Some plain strong paper (first butterflies I made with lightweight paper was a mistake) Selection of different coloured paints — we used ELC Bright finger paints Container for decanting paint into Sticky Tape Messy Mat and Apron

DANA POINT, Calif. — Ford Motor Co.'s executive chairman offered a rare glimpse yesterday into the U.S. auto industry's corporate direction and culture, painting a bright picture for the sector even though Chrysler LLC and General Motors Corp. are flirting with bankruptcy.

However, I am more of a sparrow these days, and occasionally a sparrow that has fallen into a pot of bright orange paint... For some reason, I feel more tranquil and more myself in muted colours lately but I hope my inner parrot hasn't flown away for good You wear that coat fabulously well.

Leaves are about to fall and change as bright bold colors paint the landscape of all the trees, the first hint of chill is in the early morning air as summer turns into fall.

I've been so into bright, summery nail colors lately that I thought it would be a nice change to paint my nails a pretty pastel shade.

With only a few more months before fall forces our bright berry - painted toes into layers of socks and Chelsea boots (Harry Styles is actually excited about this), we have to take a moment to appreciate the greater things in life.

That's the meat, more fetid than fresh, that Nicolas Winding Refn tears his teeth into with The Neon Demon, which gives a deep - red (and Deep Red) paint job to the most moribund of cautionary tales: the rise and fall of a bright - eyed ingenue.

It looked right at home in the sand, its bright blue paint blending into the sunny skies and the water of Lake Michigan.

Wearing bright Tangerine Scream orange paint, the ST has a gaping mesh grille with the letters «ST» stenciled into the bottom left - hand corner.

Eagle - eyed automotive enthusiasts will spot the unique front and rear bumpers, the «5ooe» badging, and — if they peer into the window — the lack of a shift knob, but our Grigio silver example lacked even the white bumper insets and bright Arancio Elettrico orange paint that appears in most of the electric Fiat's publicity shots.

In both cases, the bright «Italian Red» lettering is painted into the black exposed carbon fiber.

December paints an unforgettable picture of a family reckoning with a bewildering crisis, and of a critical month in the life of a bright, fascinating girl, locked into an isolation of her own making and from which only she can decide to break free.

With towers soaring 746 feet / 227 meters into the sky, its span arcing across the mouth of San Francisco Bay, and all of it painted bright red -...

A smattering of bright green cacti stands out amongst a backdrop of blue buildings, making it feel as though you've entered into a Hockney painting.

The Fauves were influenced by painters such as Cezanne, Gauguin, and van Gogh, who also simplified their paintings into either planes or flat forms, or used energetic and expressive bright colors.

There's no evidence of facture; the paint, you think, has soaked seamlessly into the linen support; these must be riffs on Color Field Painting, sans the bright colors, late iterations of stripe paintings in the mode of Kenneth Noland and Gene Davis.

Elsewhere, we have a meditation on — or possible antidote to — the UK's massively depleted art education system from the ever - genial Bob and Roberta Smith, who has turned the whole town into a space for artistic investigation and self - expression, via his Folkestone is an Art School initiative - announced in his usual bright, poster - paint signage on banners all over the town.

In the center, he uses dark blue - grays, neon orange - pink and bright cobalt blues painted wet - into - wet.

The éclat of these paintings is at first almost uncomfortable, as though one had emerged from shade into bright daylight (the transition from the adjacent room, hung with Martin's beautiful 1980s studies in the middle greys, is particularly powerful).

Frankenthaler did not invent the technique of poured paint, but she did mix turpentine into her bright colors so that they moved to a distant pole from Pollock's black enamel.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

Painted four months after his arrival in Arles, Wheat Field displays some of the key lessons that Van Gogh learned in Paris — the bright palette of the Impressionists and the individual touch of the Neo-Impressionists — which by then had developed further into his highly personal, signature style with its distinctive brushwork and singing colour.

Hard - edge painting is characterized by large, simplified, usually geometric forms on an overall flat surface, precise, razor - sharp contours and broad areas of bright, unmodulated colour that have been stained into unprimed canvas.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

With their bright colours, tactile paint handling, and simple yet dynamic forms, the Group of Seven transfigured the Canadian Shield, the dense, northern boreal forest, and endless lakes, into a transcendent, spiritual force.

In them, bright fluorescent colors and monumental scale meet to distill»60s hedonism into abstract history paintings.

Often crumpled in an industrial crusher and spray - painted in bright colours before being welded together into their final shape, his abstract sculptures are now being placed within the gallery and gardens of Inverleith House, the outdoor location drawing out an unexpected organic quality in the artist's heavy metal works.

In his landscapes, he employed a color palette similar to the one he used for still - life paintings such as frosty lemon yellows, powder blues, bright oranges — you will almost want to pick up a piece of the landscape and bite into it.

Their bright and synthetic - feeling palette is similar to Grant's, while their ambiguity allows viewers to see what they want in the twisted colorful forms, projecting themselves into the work — much like what Grant asks from her paintings, only with greater success.

Based on the principle that in our age matter should be transformed into energy and invade space in a dynamic form, Lucio Fontana's (1899 - 1968) Concetto Spaziale (1964) consists of cuts and slashes to the surface of a bright monochrome painting.

Such additions have complicated and breathed invigorating new life into the art form, so whether you're a die - hard realist or a tumblr - dwelling net art fan, or fall somewhere in between, this list should prove a handy guide to the brightest talents of painting in 2016.

Together forming an oasis of color, each painting is dominated by a bright tone and finished with the artist's signature slanted edges, pushing the piece into the physical space of the viewer.

A magnificent creation, it is built up in layers with bright, often iridescent painted whorls containing the cut - out heads of men with Afros, the surface dotted with dung - balls labelled with map pins spelling the names of eminent black sportsmen, and the whole thing spun into a psychedelic dazzle.

From functioning clocks made from paper, intricate room - sized mobiles, and serpentine smoke trails laser - etched on bright paper or woven into tapestries, to colorful paintings draped with real spider webs and animal - shaped functional cast - iron barbecues, White amplifies the «artfulness» of everyday things.

As the series developed into larger monumental works, Saint Phalle used composite fiberglass - reinforced polyester plastic (also known as FRP or GRP) decorated with multiple bright - colored acrylic or polyester paints.

Paintings such as Candle - lit Dinner beautifully conveyed the atmosphere of the subject through the witty interplay of bulbous lights and fat, curving lines, bright monochromatism and lilting shade, the precision of the chicken set against a childlike background of big shapes, overlapping, drawing the eye of the viewer upwards and down and into the picture despite its perverse perspective.

It seems ironic in an exhibition so filled with bright, exuberant color to pick out the black marks, but I followed the trail of black into a strong suite of paintings.

In his ongoing series of digital paintings, Italian artist Mario Sughi — aka nerosunero — gives us a bright and colourful insight into the world that inspires him.

The traditional bright lights and clinking sounds are replaced by pockets of paint that erupt into beautiful splashes of color, the ball leaving trails of paint as it moves and rolls across the background.

Its stack of broad white strokes over brighter colors might almost coalesce into the clouds and sky of a church ceiling by Tiepolo or Goya, but the thickness of the paint brings the work down to earth — and the modern world — with no loss of buoyancy.

The Scottish Modern Art Gallery's new retrospective is his first UK show in two decades, and begins spectacularly in the grounds, where the bright yellow - painted bronze «Declination» (2004), a huge bottle form metamorphosed in combination with other vessels into an abstract push - and - pull dynamic, echoes the twisting energy - plus - elegance of Charles Jencks's permanent landscape spiral.

Norton's large abstract paintings make use of playful, bright palettes to mediate a contained anger and violent impulses imbued into the work, according to the gallery.

Fluid strips of bright colour blend into one being; it's a union between male and female and between figuration and abstraction since, being headless, the pair happily occupy the middle ground between portraiture and colour field painting.

Ms. Strobert delves even further into the realm of visual metaphor with a rough grouping of yellow dollar signs in the luminous painting,... all these bright ideas, 2013.

The light shining in from being near the river glows into the space activating the color fields vibrating in the paintings, DoN thought about how this is the way a true artist lives, in a bright airy studio right in the hub of the lively contemporary arts scene in Old City with the energy and time to think big.

Saar has transformed the middle room of the gallery into a shrine for past, present, and future, painting Roberts and Tilton's interior room a bright red and allowing a variety of her customary assemblage works to act as friends and neighbors to -LSB-.....]

On March 17th, artist Bright walked into the Whitney wearing a shirt that read «BLACK DEATH SPECTACLE» in hand - written lettering, and stood in front of Open Casket (2016), a painting by the white artist Schutz in the Whitney Biennial.