Sentences with phrase «life painter writes»

«Painting pictures of objects from the most ordinary of worlds — the table, the kitchen, the grocery store — allows me to look at these objects long and differently,» The still - life painter writes.

Not exact matches

Also, be sure to check out Ellen Painter Dollar's excellent piece, «How Having an (Insurance - Covered) IUD is Saving My Life,» where she writes:

The plot itself is drawn from some 800 letters written by the artist himself, with director Dorota Kobiela enlisting the services of over 100 trained painters to bring the story to life in the post-Impressionist style.

Back in class, maybe the assignment was to write a narrative demonstrating membership in a community, and the guy at the head of the class has elicited chuckles with his account of life as an underachieving painter on a construction crew.

A painter for most of her life, she now writes full - time from her home in Grand Bay, Alabama.

Although I make my living as a painter, I get most of my ideas on how to write about painting from people who do other things.

Butler writes: «Sometimes labeled an endgame painter, Wool, to the contrary, breathed new life into painting in a time when it seemed weary and under siege.

Then I read a small essay that you wrote, «My Job: Painter,» which, in eight short paragraphs, essentially summarized your whole life's work as a pPainter,» which, in eight short paragraphs, essentially summarized your whole life's work as a painterpainter.

Not content to let MoMA and the last vestiges of formalism off the hook yet, John Yau wrote in 1988 an essay on Wifredo Lam, a Cuban painter who lived and worked in Paris among Picasso, Matisse, Georges Braque, and others.

A blind man might write an interesting treatise on visual aesthetics: he could explain that painters depict still - life objects, historical events, landscapes and whatever else may be seen.

«Depicted as a majestic painter, the woman stares confidently at the viewer and it is obvious that she is the master of her own fate,» Cafritz writes, clearly inspired by its symbolism as a statement about her own life.

Schloss wrote of her work, «What I really do is what any painter worth his salt has always done, I abstract color and line from life around me, and make another life out of it.»

The tribute to the British painter, who lives in Trinidad, was written by his good friend the Ghanaian - British architect David Adjaye.

Performer and painter Nicole Stager wrote: «This program has changed my life in profound ways.

Those words were written by the painter Josef Albers who, in the early 1930s, helped create a model for just such an adventure at Black Mountain College near Asheville, N.C.. There, for 23 years, a small, shifting group of teachers and students maintained an economically precarious and richly productive experiment in learning - as - life.

I've been reading about the American painter Fairfield Porter's life and work and while I knew that he'd once written for Art in America, I hadn't realized the extent of his interest in philosophy or the range of his intellect.

Francesca Capossela writes about Antonio Santin's hyperrealistic rug paintings on the Creators Project: Before the rug series, Santin tells The Creators Project, the painter was working on still lifes.

The lively yet authoritive writing of Tony Godfrey presents the work of all significant painters working today organized by themes that have long been central in the genre — ranging from still life and landscape to abstraction and installation.

Nicholson was alert to Tobey's skill, writing to a friend, «I much admire his work and think that he has become one of the two or three best living artists — really a superb painter.»

The critic Katy Siegel and the painter David Reed have written essays tha focus, respectively, on the work's explosive artistic and political context, and the experience of being a young painter living in New York during these years.

The French poet and art critic Charles Baudelaire famously wrote an essay called The Painter of Modern Life.

A nihilistic new exhibition called The Show Is Over seems to contradict its own premise — by showing the fearless, living glory of painters such as Ed Ruscha and Richard Wright, writes Jonathan Jones

Roth writes that «the two painters share important links to SF's history of mediating between the competing impulses of abstraction and representation... But the link that binds them most closely is their intensely personal focus... Brown created her own mythology, painting herself amidst things she loved: dogs, cats, fish, friends and household furnishings and, toward the end of her life, symbols of Eastern spiritual practices.

Rothenberg also writes that «Resnick was a very visible & dynamic artist when we met him in the early 1960s, but beyond that he was also a persistent practitioner of poetry, less in a public sense than as a release for feelings & ideas that were a necessary supplement to his life's work as a painter» Rothenberg continues, noting that Resnick «left behind at least 16 envelopes of unpublished, often handwritten poetry with some 40 poems in each.

Specially written for collectors, galleries and painters of traditional art, articles emphasize mainstream art by today's favorite living artists.

A nexus of invention, collaboration, and cheap rent, New York School Painters & Poets collages primary material (poems, photographs, letters, home movie stills, sketchbooks) alongside Quilter's winding narrative of life in lower Manhattan from 1935 — 75, decades when as Edwin Denby wrote «everybody drank coffee and nobody had shows.»

They included: the Irish - born George Frederick Folingsby (1828 — 91), who arrived in Australia in 1879 and became Master of the School of Painting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 — 1932).

The British painter Dexter Dalwood, who lived in Baroda between 1985 ad 1986 and knew Khakhar, has written of You Can't Please All:

Ever since Giorgio Vasari wrote The Lives of the Most Excellent Painters, Sculptors, and Architects (1550 - 1568), the «life and work» schema has governed common and predominant practice in art history.

He remained productive until his death in 1974 and in the decade prior discovered new meanings in his personal vocabulary of shapes, endlessly exploring the possibilities of, as Clement Greenberg wrote in 1955, «[placing] a flat and irregular silhouette, that most difficult of all shapes to adjust in isolation to the rectangle, with a force and rightness no other living painter seems capable of.»

«Owing to its timeless insights about artmaking and life, art teachers traditionally assign Ashcan School painter Robert Henri's 1923 collection of writing,... read more... «Painter Mira Schor edits a collection of Jack Tworkov's writingpainter Robert Henri's 1923 collection of writing,... read more... «Painter Mira Schor edits a collection of Jack Tworkov's writingPainter Mira Schor edits a collection of Jack Tworkov's writing»

-- Booklist (starred) «Patricia Albers vividly chronicles the artist's journey from her wealthy upbringing in Chicago to her defiant student days at Smith College, and as a young painter at the Art Institute of Chicago... Vibrantly written and carefully researched... Albers constructs a fluid, energetic narrative of Mitchell's complicated life and work.»

Writing about ayounger generation of painters working through the legacy of the Intimists, writer and curator Chris Sharp ofLulu in Mexico City raises doubts, «about the feasibility of intimacy, perceiving it less as a fact of life than an ethical mode, won through the increasingly rare act of paying attention.»

Roberta Smith writes in the NYTimes: «Elizabeth Murray, a New York painter who reshaped Modernist abstraction into a high - spirited, cartoon - based, language of form whose subjects included domestic life, relationships and the nature of painting itself, died yesterday at her home in upstate New York.

Sooner or later, everyone who writes about John Marin gets around to mentioning the 1948 Look magazine poll of 68 critics, curators and museum directors who, when asked to name America's greatest living painters, put him at the top of the list.

In the novel Life on Sandpaper (Dalkey Archive Press, 2011), the Israeli novelist and painter Yoram Kaniuk writes about the time he and Gandy hung out together in New York, befriending Lenny Tristano and Charlie Parker, as well as Willem de Kooning and Tennessee Williams.

NEWSgrist «The Extreme of the Middle is a moving portrayal in [Tworkov's] own words of personal and artistic life of an original and deeply serious painter... it offers fascinating and beautifully written new perspective on post war American art...» READ MORE...

A painter by training, Mr. Lalanne created his own brand of surrealism when, in 1964, he unveiled «Rhinocrétaire,» a life - size Annam rhinoceros, whose side folded out into a writing desk.

In 2014, upon viewing an exhibit of Clark's work at the Tilton Gallery, New York critic Barry Schwabsky wrote in The Nation, «He is, simply, one of the best living painters.»