Sentences with phrase «less painting time»

Not exact matches

According to this story, the great discoveries since the time of Copernicus and Galileo have disclosed a world that looks ever less like the picture religion painted of it, and have forced religious believers to fight a centuries «long rearguard action against the truth.

She paints a vivid of picture of women both more privileged and less happy than at any time in history and of men absolved of all responsibility by the sexual revolution but also stunted, trapped in a perpetual adolescence.

Once dry, go over the first layer of paint one more time to make the paint less transparent.

-LSB-...] don't paint furniture that often (though I would love to) and use stencils even less frequently but there are times when I do think -LSB-...]

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

Less a city symphony than a muted impressionist painting of urban drifting, the film takes place within the shadowy side streets, modest corner bars, and nondescript 24 - hour diners of the eponymous northwest Portuguese city, where Jake is burning time as a manual laborer and flannel - clad somnambulist.

The «Nemesis» features unique paint colours and interior trim, plus an exclusive accessory package, at a cost that was at the time # 330 less than the model on which it is based — when similarly specified.

Limiting the chart above just to those who use the device every day or a few times a week (leaving out usage of just a few times a month or less often), the data paints a different picture:

Following the boy on his odyssey, the ruined painting a remnant of the formerly whole and seamless world in his possession, I felt hopeful and less alone: I'd have to wait for language and balance to come back to me, but in the meantime, I had Tartt to guide me through that murky time.

I've added more tonal value in the paint this time, so therefore you'll notice somewhat less pen work, as less is needed to emphasise darker values or define one shape against another.

I'll be returning to this article for advice when I'm ready to invest the time; right now I allow myself less than two hours a day for reading FB & artist business blogs & artist research and schedule the rest of the time to building more original paintings and jewelry designs.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

Melissa Dinwiddie, again, «I consciously started working in a less time - consuming manner, in order to make my paintings more cost - effective.

Times change: less than a decade later Hofmann was living in Berkeley, where he painted «Blue Arcata» in a more upbeat palate: rhythmic patterns of orange, yellow, and blue evoke warm, sunny skies.

Her trees, however, are even less like trees than those Mondrian painted as he battled with himself to be free of Cubism, taking one step at a time toward what still passes for total abstraction or non-objective art.

His paintings began to catch on almost a decade ago, at a time when ceramics was considered a lesser medium.

The exhibition will be the first time the gallery explores the paintings of her lesser - known husband and their fertile creative life together.

Over time, the paintings became more and more geometrically structured and less about a specific place.

«A pair of socks», he said at the time, «is no less suitable to make a painting than wood, nails, turpentine, oil and fabric.»

Back upstairs Max Ruf «s «The monuments proved visible in the morning» (2014) looms in three panels of paintings of corporate logos rendered unrecognisable in its abstract landscape that's less location and more time and motion.

I've now gotten to a point where I can focus on my painting more or less full - time.

During his time there, he began to try to paint from nature with less distortion and invention.

When he returned to the canvas, he ultimately chose to paint it black again.16 Today, the white drips are no longer visible and the painting appears less matte overall, having become glossier and more lustrous over time.

I have no idea, and I enjoyed the paintings less than last time, but I also admired her for deceiving me.

At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.

But the picture is structured by a series of stripes that make it a cousin once removed to a contemporary stripe painting by Kenneth Noland, a painter whose work dominated art criticism at the time but which now seems much less substantial than Thiebaud's.

The exhibition, which is curated by the Guggenheim's associate curator Lauren Hinkson, places Albers's well - known paintings alongside less - studied photographs (many exhibited publicly for the first time in this exhibition) that he took while visiting various ancient ruins in Mexico.

The exhibition at Kunstmuseum Liechtenstein focuses on Thomas Schütte's lesser - known early works of the late 1970s, a period of time which for Thomas Schütte was a kind of «research phase» during which, as a student in Fritz Schwegler's class, and later in Gerhard Richter's painting class, he gradually made his way to sculpture: «As the student of a painter who could do everything, you couldn't just paint anymore.»

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

However, her explanations are sparse, she doesn't give a description of the colors she uses for each painting, so you more or less have to guess, and it's not clear a lot of the times, what she's exactly doing.

That's all you need to watch - 5 videos, which will take less time than painting a single picture and teach you a lot more!

It seems that if we're talking about how long painters take to make paintings, we should begin by admitting a general truth: modern and contemporary paintings took less time to make, on average, than medieval, Renaissance, or Baroque paintings.

Constable's Leaping Horse and his emotional brown study of a tomb in a tangled wood, a painting of the monument to the RA's first presi dent Sir Joshua Reynolds, hang next to canvases that - although far less well known today - were favourites of their time.

I remember the same sense of outrage the first time I saw Frank Stella's black paintings and to a lesser extent the first show I saw of Warhol's at the Stable Gallery.

These new voices I was hearing transplanted the temporary excitement I had from Abstract Expressionism, which was the only thing at the time, and we were all more or less piddling with paint in the same way.

Among the sights are Old Masterworks from all times and places — there are allusive ties to works as different as Flemish proverb pictures (most notably, Bruegel's ironical The Parable of the Blind, 1568), Gericault's unromantic portraits of mental patients, and Sargeant's peculiarly lurid romantic paintings — none the worse for wear, and as unconsciously striking as ever, but more adult, that is, dignified by consciousness, than the Abstract Expressionism with which Desiderio began his career, and thus less beholden to the tyranny of modernism, if still symptomatic of modernity.

After «Oscar Murillo: Distribution Center,» his first show in Los Angeles, which opened in January in the Mistake Room, David Pagel, writing in The Los Angeles Times, called some paintings in the installation «anemic,» saying that «each large piece is less compelling than a single square inch of anything Jean - Michel Basquiat ever touched.»

Because Kline sketched and painted this photograph so many times, he acquired such a familiarity with it that he could apparently sketch it blindfolded in less than thirty seconds.39 This skill necessarily involved what Kline had described in 1956 as the process that had led to his breakthrough to abstraction: «breaking down the structure into essential elements».40 In the photograph, the posture of Nijinsky in absolute terms and relative to the frame has a striking structure of a kind that persists in Kline's abstract work, in which there is a tension between the composition internal to the painting and the limits of the canvas.

Over time, her paintings became less formal and a little more woozy, the palate went from primary colors to jewel tones, squares and rectangles gave way to the occasional rogue polka dot.

This time, because people were less likely to voice the meaning they read into his paintings.

Less kindly, the Times describes her work as «art for anoraks» and the Stuckists went further with the geek insults, referring to her paintings as «doodles done by a lobotised robot.»

The exhibit is organized in more or less a chronological order, which is perfect for an artist who went through various stages — there was fascination with photographic prints, silk screening, extensive collaboration with Merce Cunningham, sometimes with works created in real time as Cunningham's dancers trouped around, an idea of interactive art, in which the viewers were encouraged to tune a radio embedded in a painting to any station they wanted (needless to say, you should not try that now), and so on.

At a time when New York witnessed the birth of Abstract Expressionism, Minimalism and Pop Art, Alice Neel pursued the less fashionable discipline of painting people, and was a key force in reviving portraiture in the 20 century.

The jangling profusion of lines in «First Cypress» and its untitled sibling at Lennon, Weinberg is a trademark (or cliché, depending on your point of view) of Abstract Expressionism, and thus feels less anchored to our time than the green, ugly mass on the other side of the painting.

Fünf Türen (Five Doors), 1967 The year Richter painted 5 Doors was an unsettling and transitional time for the artist, his daughter had just been born and he painted far less this year than was usual for him — archiving only 31 works that entire year.

Including paintings, drawings, prints, photographs, and sculptures, American Modern brings together some of the Museum's most celebrated masterworks, contextualizing them across mediums and amid lesser - seen but revelatory works by artists who expressed compelling emotional and visual tendencies of the time.

Time is the Diamond comprises twenty - two small works in less than twelve linear feet — miniatures, actually — using many of the same motifs and interventions found in Weathersby's larger paintings; the smallest measures approximately 2.5 x 1.5 inches, the largest just over 8 x 5 inches.

His work has also been included in the recent group exhibitions Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950 — 1970, J. Paul Getty Museum, Los Angeles (2011 — 12); Then The Language of and Now Less, Museum of Contemporary Art, Chicago, (2011 — 2012); and Elogio del dubbio (In Praise of Doubt), Palazzo Grazzi, Venice, Italy (2011).

BS At different times the texts in your paintings have been more legible or less legible.

The Times reports that Victoria Miro, the artist's London gallery, has a list of museums waiting to purchase her «limited output» (she reportedly completes five or six paintings a year) and states that primary market prices for her work are less than $ 100,000.