Sentences with phrase «larger figure composition»

What kinds of reference material do you use with the beach figure paintings and can you say something about your process of making a larger figure composition?

My paintings at this time were both perceptual and conceptual: smallish images of architecture, mostly Victorian houses, with their interesting balance of details upon large planes, which were painted on site during summers away from the city; small still life paintings; larger figure compositions ---- studio works ---- looking toward Italian High Renaissance painting, with one or two or three figures in an architectural setting.

What I have flashing at the back of my mind is somebody like Pierre Puvis de Chavannes, for example, who painted very large figure compositions in frieze formats with muted colors and flat areas.

Not exact matches

large, figure compositions from my imagination and also small collages.

This period, and these female figure paintings, set the stage for Tworkov's transition into larger - format canvases in the early 1950s, when he loosened his line and painted mostly abstract compositions, relying on the figure.»

Terre verte also figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the painting.

Even when he includes figures in his compositions, they blend seamlessly into their surroundings and become a part of the larger narrative (see «Husband and Wife» image below).

The collages gradually grew larger and more ambitious and eventually I found that they were exploring the same ideas from my figure compositions.

«Billboard» (1957), with its large gestures and thick paint, organizes a roiling Abstract Expressionist composition into an irregular grid of color patches enclosing figures, faces, fruit and hints of objects alive somewhere in the depths of paint.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

Other highlights of this auction include Lot 20, «Duridium,» a 26 - by - 36 inch magna on canvas, dated 1964, by Roy Lichtenstein (1923 - 1997), estimated at $ 600,000 to $ 800,000, which sold for $ 607,500; Lot 21, «Ileana Sonnabend,» a 1963 metallic paint on canvas, 77 3/4 - by -128-inch work by Frank Stella (b. 1936) that has a high estimate of $ 600,000, and which sold for $ 684,500; Lot 29,» Evening in the Studio,» a monumental painting that out - Rubens Rubens by Lucian Freud and has an ambitious high estimate of $ 3,500,000, and which sold for only $ 2,422,500; Lot 30, «Lying Figure,» a large, interesting composition by Francis Bacon (1909 - 1992) that has an ambitious high estimate of $ 2,500,000 and is starker than his more painterly small works, and which was passed at $ 1,600,000; Lot 35, «Bedouin (Personage Gris et Rougeatre),» a great Jean Dubuffet (1901 - 1985) painting that is conservatively estimated at $ 700,000 to $ 900,000 and which sold for $ 992,500; and Lot 46, «Aux Bons Principes,» a more colorful but not as strong Dubuffet that has an ambitious high estimate of $ 3,000,000, and which sold for $ 2,202,500; and Lot 63, an untitled, large painting by Sigmar Polke (b. 1941) that has a mysterious, luminous and mystical sense of a great mountainscape by the Sung Dynasty masters of China and has a conservative high estimate of $ 300,000, and which was passed at $ 150,000.

For the Summer Exhibition at the Royal Academy in 1997, in among the still lifes and daubs of favourite pets, he submitted a large painting entitled The Killer - Critic Assassinated By His Widower, Even, a composition indebted to Manet's Execution of Maximilian, in which two figures fire bullets into the engorged faces of a hydra - headed monster, whose tongue extends across the picture with the words «yellow press, yellow press, kill, kill, kill» written upon it.

Foreword by James Rosenquist vii Preface by Ira Goldberg viii Acknowledgments x Introduction: Miracle on 57th Street 1 Part 1: Lessons and Demos 15 Henry Finkelstein: On Painting, with a Critique 17 Mary Beth McKenzie: Painting from Life 27 Ephraim Rubenstein: Painting from Observation 39 Thomas Torak: A Contemporary Approach to Classical Painting 59 Dan Thompson: Learning to Paint the Human Figure from Life 75 Sharon Sprung: Figure Painting from Life in Oils 91 Frederick Brosen: Classic Watercolor Realism 107 Naomi Campbell: Working Large in Watercolor 123 Ellen Eagle: Poetic Realism in Pastel 135 Costa Vavagiakis: The Evolution of a Concept 148 Part 2: Advice and Philosophies 165 William Scharf: Knowing that Miracles Happen 167 Peter Homitzky: Inventing from Observation 181 Charles Hinman: Painting in Three Dimensions 193 Deborah Winiarski: Painting and Encaustic 203 James L. McElhinney: Journal Painting and Composition 213 Part 3: Interviews 229 Frank O'Cain: Abstraction from Nature 231 Ronnie Landfield: On Learning and Teaching 251 Knox Martin: Learning from Old and Modern Masters 269 Concours: Painting and the Public at the Art Students League by Dr. Jillian Russo 282 Index 286

Scanning the table of contents is like flipping through a course catalog: do you want to take Naomi Campbell's «Working Large in Watercolor,» James McElhinney's «Journal Painting and Composition,» Sharon Sprung's «Figure Painting from Life in Oil,» or Ellen Eagle's «Poetic Realism in Pastel»?

Mann is also showing mixed - media works mounted on board, including «Figures de mémoire» («Memory Figures,» 2013); several grid - format, multi-component tableaux; and larger - format works in whose expansive compositions her lines and abstract forms loosen up and spread out in what appear to be topographic maps from other worlds.

The most popular genre of painting was landscape painting - usually large - scale - along with flower - and - bird compositions, and narrative figure painting which allowed artists maximum scope to praise the new Ming rulers.

Terre verte also figures in two large single - panel monochrome canvases whose composition — a rectangle or square resting on a smaller rectangle — recalls Marden's early monochromes, the bottom area showing the many layers used to build up the painting.

Forsaking the hyper - masculine themes and methods of Abstract Expressionism, she introduces figures of genitalia, severed body parts, and internal organs into her large, frenetic, compositions.

In the large suite of new works on view at Maccarone Los Angeles, Hubbard's viscous, richly colored industrial materials are layered and reconstituted in compositions that advance the act of painting by challenging its formal figure - ground language.

The large scale work stands strong with intricate compositions of cartoon figures that flow throughout the paintings.