Sentences with phrase «life painters like»

• For more about still life painters like Peter Collis, see: Irish Art Guide.

• For more about landscape / still - life painters like Arthur Armstrong, see: Irish Art Guide.

It is within this tradition, which inspired American still - life painters like John F. Peto and William Harnett, that we may comprehend Johns» lifelong interest in optical illusions.

Not exact matches

I am 62 high weigh 225 clean disease free discreet if you want I am a painter by trade live in promontory Chilliwack BC I like to please the lady or woman I'm in bed with i am very good wen I go down on a woman I am a lady's first kind of guy I am melo and easy going I will try or do eney thing...

hello how are you my name is Greg I live in Scottsdale Arizona from Scottsdale Arizona anyway I would love to meet a lovely Filipino lady to take out and see if we have things in common and if we click anyway I'm a professional painter by trade I love the outdoors I like to ride my bicycle my motorc...

But those who have seen films like Vincente Minnelli's biopic Lust for Life (1956), Robert Altman's Vincent & Theo (1990)-- specifically about the tortured relationship between the two brothers — and Maurice Pialat's Van Gogh (1991), which focuses on the painter's last days, will find little here that adds to our understanding of this brilliant, suffering artist beyond, perhaps, the revelation that there is even any mystery surrounding his death at all.

A film like Live Free or Die Hard owes large swaths of its existence to this film more than it does to its own primogenitor in terms of fluid elegance, colour schema (Bigelow's training is as a painter), and flat - out ballsiness.

Mr. Turner covers 25 years of the contradictory painter's life, and it often feels like it, moving at a languorous pace over its two - and - a-half hours.

Moreover he lived for circa ten years - till 1914 - in Murnau together with German woman - painter Gabriele Münter - they painted many landscape - paintings in open air togehter with other Blue Rider artists, like Jawlensky, Marianne Werefkin and PauL Klee.

In this vivid glimpse into the early life of African American painter Jacob Lawrence, the rhythms, shapes, and Matisse - like colors of Harlem in the 1930s make for a sumptuous setting.

I really like your strategy of interleaving short chapters with your paintings, as that seems really appropriate to capture your life experience as a painter - writer.

«It's important in real estate and in life in general to step back, like a painter from their canvas, and look at the big picture once in a while,» Josh explained.

Thankfully, in Brooklyn, painters have been able to count on the support of champions like John Yau (Hyperallergic Weekend), James Panero (The New Criterion), and Michael David (painter and Director of Life on Mars Gallery) and some others.

We have talked with him about his drive to work from life, the painting challenges that come with diminished vision, how to use the inspiration you get from other painters, and what it was like coming to New York City as a young artist in the nineteen fifties.

When I think of veteran painters like Raoul de Keyser ensconced in the small Belgian town of Deinze, or the reclusive expatriate James Bishop who has spent much of the last half century hiding out in the French countryside, the first lines of John Ashbery's poem «Soonest Mended» pop into my mind: «Barely tolerated, living on the margin / In our technological society.»

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

2013 Wipala / Annicā, Surveying: William Cordova & Glexis Novoa, Bridge Red Studios, North Miami, FL Perder la forma humana, Una imagen sísmica de los anos ochenta en America Latina, Curated by Red Conseptualismos del Sur at Museo de Arte de Lima, Lima, Peru Curadores come home II, Curated by Rachel Weis & Sandra Ceballos, Espacio Aglutinador, Havana, Cuba Antonia Eiriz: A Painter and Her Audience, MDC Museum & Galleries of Art + Design, Miami, FL Faux Life, Richard Heller Gallery, Santa Monica, CA El Canto del Cisne, Instituto Cervantes in Berlin present the documentary El canto del Cisne (Swan song) produced and directed by Glexis Novoa; Kino Babylon, Berlin Mentes peligrosas, Espacio Aglutinador, Havana, Cuba Empire, Curated by Natika Soward, FiveMyles, Brooklyn, NY Politics: I do not like it, but it likes me, Curated by Agnieszka Kulazinska and Dermis León, Center for Contemporary Art Laznia, Gdansk, Poland Aesthetics & Values 2013, Patricia & Phillip Frost Art Museum, Miami, FL

Damien Hirst has called Hoyland ʻby far the greatest British abstract painter», adding: ʻHis paintings always feel like a massive celebration of life to me.»

Groups like The Living Theatre with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments, radically changing the relationship between audience and performer, especially in their piece Paradise Now.

Clare Torina is a painter whose compositions might include elements of naïve still life, patterning, cartoon - like illustration, and provisional painting.

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» Expert.

- Jonathan Goodman Virva Hinnemo lives far out on eastern Long Island, and her artwork looks very much like the art of the ab - ex painters who made that...

Despite its half - century historical sweep, in essence «The Painting of Modern Life» felt like an intimate group show, presenting several works by each of the 22 featured painters, sequenced and hung with intelligence and restraint, never forcing the argument but letting the arrangement suggest its own rich conversation.

Other artists represented include Amedeo Modigliani, well known for his elongated, wistful figures; Georgio de Chirico, the Metaphysical painter of dream - like empty townscapes; and Giorgio Morandi, celebrated for his subdued still lifes.

Red and black overlays scar a 1943 bird by Morris Graves, the Seattle - area painter, but also bring to life its skeletal form and its claws like table forks.

Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments; radically changing the relationship between audience and performer especially in their piece Paradise Now.

Lesley Schiff, originally a painter, has made deadpan images of everyday objects like a radio or a clock, as well as moody still lifes with fruit and plants.

Matt Johnson takes forms like crumpled cardboard boxes, shards of cut drywall, a discarded cup, pizza box, and rolls of blue painter's tape, things that live in the place between utility and refuse, and shows their incidental elegance by persevering their fragility and transience through replication as sculptures.

Inspired by Giorgio de Chirico, Andre Breton and other 20th century surrealist painters, Weldon's dream - like and fantastical narratives playfully coax the viewer to consider the role of social media in our everyday lives - the absurdity of time spent scrolling through photographs and feeds, as well as the the withdrawn insularity of choosing social media over genuine social interactions.

The Mexican state glimmers like a world beyond ours, something that only lives in a dimension past the stars or the romantic portraits of rare sanguine painters.

James Rosenquist came to prominence among New York School Pop Art figures like Roy Lichtenstein, Jasper Johns and Robert Rauschenberg is well known for his large - scale, fragmented works that bring the visual language of commercial painting onto canvas, from 1957 - 60, Rosenquist earned his living as a billboard painter.

Like Alma Thomas, it wasn't until later in life that painter and mixed - media artist Anne Ryan hit her creative stride.

In the absence of a dominant aesthetic, painters could turn where they wished and blend as they liked — from Abstract Expressionism to Tantric spiritualism; from Rajasthani painting to changes in India's complex politics, religions, classes, and vernacular life.

If like us, you enjoy the superflat yet explosive paintings of New York painter Eric Shaw, you might be interested to see his work come to life.

For many painters, like Picasso for example, there's a live connection between the gesture, the mark and the image, and these things are all part of a very active hand - eye process.

Nor will seeing the works of their students, even those who became as renowned as Robert Rauschenberg or Kenneth Noland, or «artist's artists» like Ray Johnson and Pat Passlof, or even simply figures who seem to have made a profound impression on the life of the school but less so on the wider world (for instance, Dan Rice, who arrived at Black Mountain intending to study musical composition but ended up becoming an Abstract Expressionist painter).

In Spain, the genre was more popular, and painters like Francisco de Zurbaran and Juan Sanchez Cotan invested the simplest still - life with drama.

A canvas like «Stolen Blues» revisits the work of painters so disparately scattered throughout the last century — late 1940s Pollock, 1970s De Kooning, the glassy color swirlings of Janet Fish's still lifes — that merely recognizing them recalls Jorge Luis Borges's suggestion that artists create their own unique precursors.

Although known primarily for the undulating, disk - like, painted ceramic pieces she has been making for the past few years, Robins started her art - making life as a painter.

This brilliant painter and provocateur was radical in art and life — but like the Italian futurists, was attracted to far - right politics.

Leading Pop artist James Rosenquist — who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning — is well known for his large - scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957 - 60, Rosenquist earned his living as a billboard painter).

It was responsible for a huge number of masterpieces across all the painting genres, and featured virtuoso portraitists like Frans Hals (1580 — 1666) and Rembrandt (1606 — 1669), genre - painters like Jan Vermeer (1632 — 1675), landscape artists like Jacob van Ruisdael (1628 — 1682) and still life masters such as Frans Snyders (1579 — 1657), Jan Davidsz De Heem (1606 - 1684) and Willem Kalf (1622 - 1693), among many others.

Over the course of his long life, Henri Michaux (Namur, Belgium, 1899 — Paris, France, 1984) greatly influenced the artists and writers of his time, both as a «poets» poet» and a «painters» painter», lionized by figures in both fields like André Gide and Francis Bacon.

Walter Robinson: I almost became a painter of children and family life, sort of like Alex Katz, painting Ada.

I knew Alfred Leslie was an Abstract Expressionist painter, but he'd never usurped the art world's imagination like the larger than life Willem de Kooning or the tragic Arshile Gorky or the both larger than life and tragic Jackson Pollock and Mark Rothko.

This artist has no narrative agenda, no underlying moral to take away, like the 17th - century Dutch still - life painters.

Although Photorealism is primarily a painter's movement, it was also associated with the sculptors John De Andrea and Duane Hanson, who created ultra life - like sculptures of people.

The Rubicon Gallery's portfolio of visual artists includes: the landscape artist Donald Teskey, the landscape, still life and genre painter Eithne Jordan, and other dynamic contemporary artists like Stephen Brandes, Abigail O'Brien, Blaise Drummond, Tom Molloy, Robert Bordo, Felicity Clear.

LG: The great Venetian view painters like Canaletto and his student, Francesco Guardi painted scenes of 18th century life along the canals in Venice.