Sentences with phrase «learned painting from life»

I learned anatomy, and I learned painting from life.

Not exact matches

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You will learn about a unique early life that taught him to lead and the passions, from painting to music, that push him to new heights of creativity in all he does, in a life filled with accomplishment and example.

Learn how to paint with watercolours, from the absolute basics to landscapes, still life, portraits and more.

You can see how he brought to his paintings of still lifes, figures, and landscapes lessons he learned during his years making nonrepresentational paintings, one of the qualities that set his finest efforts apart from those of his friends and colleagues.

Learn how to paint with oils, from the absolute basics to landscapes, still life, portraits and more.

Learn how to paint with acrylics, from the absolute basics to landscapes, still life, portraits and more.

Students learn how to apply the fundamentals of color theory to painting from perception (still life or the model), imagination, or abstraction.

Class Description Students will paint directly from life as they learn the fundamentals of oil painting: light, color, form, space, and composition, the very building blocks of individual expression.

Her father taught her anatomy and traditional oil painting techniques, and she learned painting both from masterworks as well as painting from life.

Learn how to create an incredibly lifelike portrait directly from Judith B. Carducci, or discover the secret behind still life painting that comes alive on the canvas with Gregg Kreutz.

What do you consider you learned when you were growing up, from his practice, where imagery from everyday life and mass media was incorporated in painting and thus extended the boundaries of art?

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

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

1995 Learn to Read Art: Lawrence Weiner — The Books, New York Public Library, New York, US & Vers Les Etoiles, Port de Chagny, FR Painted Stones Ringing..., Kunstmuseum Winterthur, CH Between The Pyrenées & The Mediterranean Sea, Fundacio Pueblo Barcelona, Barcelona, ES Von Punkt zu Punkt / From Point to Point, Kunstmuseum St. Gallen, CH (Works) In the Stream, IVAM Centre Julio Gonzales, Valencia, ES Stage Set for the Kygen of the Noh Play of our Lives, Gallery 360º, Tokyo, JP To Build a Square in the Rhineland, Museum Ludwig, Wolfgang Hahn Prize, Cologne, DE Two Sites by Lawrence Weiner, Regen Projects, Los Angeles, US Heart of Darkness, Holstebro Kunstmuseum, DK Some Things Brought To Hand: The Multiples of Lawrence Weiner, Marian Goodman Gallery, New York, US

It is reported that he learned the basics of drawing and oil painting from a wandering portrait painter called Stein, and then himself spent time as an itinerant artist earning a living from portraiture.

It can be a long process and I encourage you not to rush it — you're gonna live with this paint for a long time and doing it right the first time is so nice — take it from a gal who has learned the hard way...