Sentences with phrase «man than the paintings»

Not exact matches

FOR many wine drinkers, the word chianti conjures up images of red and white checked tablecloths, men (and often women) with an abundance of chest hair, and those squat, cane - wrapped bottles of brick - red wine more suited to stripping paint than accompanyi

To continue to paint Christ as a blond - haired, blue eyed white man is to deny that an historically important figure was something other than white.

I think this is so because (painting with a broad brush here) they are more emotional than men and have greater instincts to take care of people.

His Jesus looks more like Brad Pitt than that nice man with the beard in all those paintings.

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.

A genuine philosophy of history regarding the beginning8 of genuinely human history, and a genuine theology of the experience of man's own existence as a fallen one which can not have been so «in the beginning», would show that where it is a question of the history of the spirit, the pure beginning in reality already possesses in its dawn - like innocence and simplicity, what is to ensue from it, and that consequently the theological picture of man in the beginning as it was traditionally painted and as it in part belongs to the Church's dogma, expresses much more reality and truth than a superficial person might at first admit.

Holiday is more of a shoot - first guy than a setup man, and he struggles getting downhill into the paint around defenders at times, which limits his upside on some level.

Cast in the shadows of those men, they were painted as helpless and labeled as nothing more than simple - minded, meal - making housewives whose sole purpose in life was to please their man.

The Grohmann Museum is home to the Man at Work collection, which comprises more than 1,100 paintings and sculptures dating from 1580.

Nowhere is this more disturbing than when Dusty improvises a fairy tale to the kids about the «real king» and the «step - king» in a way that paints Brad in a negative light, including the relative sizes of the men's «swords».

One could go on to discuss the committed and rather spectacular performance that Miles Teller gives in the role Pazienza, or the cool aesthetic that matches the time period in small, effective ways, but despite the casts best efforts and writer / director Ben Younger's endeavor to paint more a portrait of a man determined to overcome the odds rather than going through the motions of another redemptive sports tale, Bleed for This unfortunately ends up reducing itself to just that.

Mr. Turner is not a man of words, but his inarticulate communication might even be richer than his arsenal of painting, tools and ideas.

Other striking male performances were provided by: Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin and Anthony Anderson in The Departed; Edward Norton, Liev Schreiber and Toby Jones in The Painted Veil; Wim Willaert in When the Sea Rises; Leslie Phillips and Richard Griffiths in Venus; Clive Owen, Denzel Washington, Christopher Plummer, Willem Dafoe, and Chiwetel Ejiofor in Inside Man; Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase and Shido Nakamura in Letters from Iwo Jima; Greg Kinnear, Steve Carell, Alan Arkin and Paul Dano in Little Miss Sunshine; Edward Norton, Paul Giamatti and Rufus Sewell in The Illusionist; Patrick Wilson, Jackie Earle Haley, Noah Emmerich, Gregg Edelman and Ty Simpkins in Little Children; Keanu Reeves, Christopher Plummer and Dylan Walsh in The Lake House; Nicolas Cage, Michael Pena and Stephen Dorff in World Trade Center; Tim Blake Nelson, Pat Corley, Jeffrey Donovan, Stacy Keach and Scott Wilson in Come Early Morning; Ryan Gosling and Anthony Mackie in Half Nelson; Jason Schwartzman, Rip Torn, and Danny Huston in Marie Antoinette; Matt Damon, Michael Gambon, Alec Baldwin, William Hurt, Billy Crudup, Robert De Niro, Keir Dullea, Timothy Hutton, Eddie Redmayne, Mark Ivanir and Joe Pesci in The Good Shepherd; Hugh Jackman, Patrick Stewart, Ian McKellen, Kelsey Grammer, James Marsden, Shawn Ashmore, Aaron Stanford, Vinnie Jones and Ben Foster in X-Men: The Last Stand; Mads Mikkelsen, Jeffrey Wright, Giancarlo Giannini, Simon Abkarian, Sebastien Foucan, Jesper Christensen and Tobias Menzies in Casino Royale; Ebru Ceylan and Mehmet Eryilmaz in Climates; Adrien Brody, Ben Affleck and Bob Hoskins in Hollywoodland; Jamie Foxx, Danny Glover, Keith Robinson and Hinton Battle in Dreamgirls; Brian O'Halloran, Jeff Anderson, Jason Mewes, Trevor Fehrman, Kevin Smith and Jason Lee in Clerks II; Justin Kirk and Jamie Harrold in Flannel Pajamas; Stanley Tucci, Simon Baker and Adrian Grenier in The Devil Wears Prada; Will Ferrell, Dustin Hoffman and Tom Hulce in Stranger Than Fiction; Samuel L. Jackson, Curtis Jackson, Chad Michael Murray, Sam Jones III and Brian Presley in Home of the Brave; Harris Yulin, Ty Burrell and Boris McGiver in Fur: An Imaginary Portrait of Diane Arbus; Max Minghella, John Malkovich, Jim Broadbent, Matt Keeslar, Ethan Suplee, Joel David Moore and Nick Swardson in Art School Confidential; Joseph Cross, Brian Cox, Joseph Fiennes and Alec Baldwin in Running with Scissors; Jamie Foxx, Colin Farrell, Ciarán Hinds, Justin Theroux, Barry Shabaka Henley, Luis Tosar and John Ortiz in Miami Vice; Michael Sheen, James Cromwell, Alex Jennings, Roger Allam and Tim McMullan in The Queen; Samuel L. Jackson, Ron Eldard, William Forsythe, Anthony Mackie, Marlon Sherman and Clarke Peters in Freedomland; Vin Diesel, Peter Dinklage, Linus Roache, Alex Rocco, Ron Silver and Raul Esparza in Find Me Guilty; Josh Hartnett, Bruce Willis, Stanley Tucci, Morgan Freeman and Ben Kingsley in Lucky Number Slevin; Hugh Grant, Dennis Quaid, Chris Klein, Shohreh Aghdashloo, John Cho, Tony Yalda, Sam Golzari and Willem Dafoe in American Dreamz; Keanu Reeves, Robert Downey Jr., Woody Harrelson and Rory Cochrane in A Scanner Darkly; Adam Beach, Ryan A. Phillippe, Jesse Bradford, John Benjamin Hickey, Jon Slattery, Barry Pepper, Jamie Bell, Paul Walker and Robert Patrick in Flags of Our Fathers; Chow Yun - Fat in Curse of the Golden Flower; Sergi López, Doug Jones, Álex Angulo and Federico Luppi in Pan's Labyrinth; Bill Nighy in Notes on a Scandal.

Happily, this film's conception of male friendship is less reliant on insults and abuse than its predecessor, and doesn't need to paint the men's wives as shrews in order to give the motley bunch something in common.

In exploring the international terrorist who took the title's nom de guerre, Olivier Assayas, in Carlos, focused more on the vast disconnect between the man himself and the rock - star image he cultivated than in necessarily painting a detailed psychological portrait.

It is nothing more than two men in the middle of a desolate roadway painting lines and talking with one another about the trials of their lives.

Bystanders will have plenty to take in at this year's 24 Hours of Le Mans, but one car — a wildly painted BMW M3 GT2 — will turn more heads than any other car lapping the Circuit de la Sarthe.

But is this exquisite piece of street furniture, which spends more than 100 man - hours in the paint shop to receive one of five unique colors, really worth more than two and a half times as much as a V12 Vantage?

Duaív is a colorful man with hair that matches the full spectrum of art that he creates using cans of paint rather than tubes.

Youth is but the painted shell within which, continually growing, lives that wondrous thing the spirit of a man, biding its moment of apparition, earlier in some than in others.

But the sunlight that couldn't be stopped shone on the red bread - box and on the bottle - green icebox and on the blue, marble - painted crock containing cucumber pickles and on the polished black enameled woodstove and on the pale blue safe with the pink floribunda roses painted on the two doors, and he watched all these take their true colors back to themselves and the faces of the men and Mrs. Parker take on the colors and shapes that they carried through daytime that were different from their faces at night under even the brightest light, somehow more supple and creased and softer really than at night, even if they looked more battered and old.

But if you obey every advertiser, you could find yourself taking questionable prescriptions, sharing a hangover with the «most interesting man in the world,» collecting 2,000 «hand painted limited edition» thimbles, or owning more cars than Jay Leno.

We don't know too much more than what's shown in the trailer, but that's enough for us: this is old - school Mega Man given a fresh 3D coat of paint, much like Mighty No. 9 but hopefully with a lot more polish and success.

More than a hundred works on display (some never seen before in this country) include «The Naked Man» (1962), which was once confiscated by East German authorities, perhaps because of its depiction of a larger - than - life - size erect penis; work from his «Helden,» or «Heroes,» series (mid-1960s); and the upside - down paintings that made him famous in the»70s.

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He could associate the Klan with assaults on Jews from childhood, but the air of confessional painting belongs to an older man in his studio, not least because confession came with the less than frank irony of a cartoon.

Using saturated moody hues, her canvases maintain a certain seriousness that is offset by refreshing decisions — a bright striped shirt worn by a young man who appears on several canvases; a bouquet of flowers to keep a lone figure company on more than one occasion; a pink sweater for the intensely focused man featured in «Jewel,» the painting on the cover of the book.

Cézanne and American Modernism is the first exhibition to examine Cézanne's influence on American artists working between 1900 and 1930 by bringing together 16 of the French master's paintings and works on papers with more than 80 works by 33 American artists including Marsden Hartley, Maurice Prendergast, Arshile Gorky, Alfred Stieglitz and Man Ray.

Touch is a painting about a woman's sexual desire, rather than a man's, and the artist unsettles the traditional gender power structures by placing the woman's leg over the man's torso.

From 1924, it's a still life — nature morte, or dead nature, as the French would say — and it's a composition that has more to do with Dutch painting from the 17th century than with Paris or with anything that Soutine saw as a young man in Belarus.

In an LA Times review of For Your Pleasure, CB1 Gallery's August 2010 group exhibition, David Pagel wrote that «Zamani's meaty paintings come from the no - man's - land between sleep and wakefulness, when consciousness is not fully functional and every little detail is more mysterious than usual.

In between, we discover paintings on canvas and ink drawings of larger - than - life heads, full - length nudes, Ms. Dumas's daughter as a young child, raunchy strippers, political commentary, and more, from early experiments with a variety of conceptually based approaches to an idiosyncratic, continuing series of portraits of «Great Men.»

Wiley's larger - than - life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

The slab of concrete with a spray - painted pink X on it, is named Listening to the Men Talk Sometimes Made Her Feel More Alone Than if She Were a Mile Away by Herself Under a Tree, delicately referring to subjective experiences of gender differences.

He made Bedroom Breast, 2004, a painted metal relief, referring back to his earlier work, and also Man Ray at the Dance, a large canvas painting, at more than eight by six feet, and eight Sunset Nudes including Sunset Nude with Frame, a painted metal work.

A few documented facts and a handful of recollections and legends provide a scant outline of the man: He was born in Libourne, near Bordeaux, in 1857, and worked as a sailor during his youth; from the sea he turned to the stage, with no more than minor success; at forty he quit acting, and after a tentative experiment with painting Atget became a photographer, and began his true life's work.

Skarstedt believe that in this study, perhaps more than in any other, the contradiction of man's mortality versus the power of the Papal office is best conveyed by the frailty of the diminished figure engulfed in his throne and the splattering of paint depicting his facial contortions.

The presentation of more than 100 paintings, sculptures and drawings, and personal photographs and artifacts, will allow visitors a multifaceted view of Picasso, the man and the artist, to «see him as never before.»

By dint of their subject matter, her larger - than - life paintings of black men she met on the streets of Harlem inevitably recall the recent survey of portraits by Alice Neel of her neighbors in Spanish Harlem and on the Upper West Side, organized by Hilton Als at David Zwirner gallery.

Nowhere is this rendered with more concision than in the iconic work Fémur d'homme belge (Femur of a Belgian Man, 1964 — 65), a human thighbone painted in the Belgian national colors.

And Elizabeth Peyton on occasion paints naked men, but her characteristically androgynous figures — whether unclothed or not — signal chaste longing more than carnal knowledge.

The suave, white - suited man named Steve in Barkley L. Hendricks's 1976 painting of that name, radiates every bit as much star - power as Elvis Presley does in a double - panel Warhol homage, and he's treated with a lot more respect than is the busty, grinning title figure in Willem de Kooning's «Woman and Bicycle» from the early 1950s.

Comprising more than twenty monumental sculptures and paintings, Le Jardin Décomposé evokes an overlapping of city and nature, a place akin to botanist and writer Gilles Clément's characterization of the Third Landscape as «the space left over by man to landscape evolution — to nature alone.»

In more cryptic, abstract paintings than the ones painted in Maine, he had memorialized the young Prussian lieutenant Karl von Freyburg in Germany, with whom he was in love and who would die in World War I. His Maine figurative paintings and drawings depict brawny loggers and men in swimsuits, reflecting what to a contemporary eye is clearly homoeroticism, though apparently it was not construed as such when Hartley made the paintings.

Although Wiley's sitters suggest the mix of might and grandeur seen in the historical paintings, rather than war heroes and members of the aristocracy, they are young men from inner - city areas such as South Central Los Angeles, Detroit, and Harlem.

Her inaugural exhibition with the gallery presents a series of new larger - than - life paintings of black men, long her sole subject matter.

At the newly renovated Chrysler Museum of Art, it hangs adjacent not to a Marsden Hartley painting, nor one by Arthur Dove, but one by a man more than 30 years her junior: Shabazz (1965), a rhythmic, eye - popping vertical stripe painting by Gene Davis, an exemplar of the Washington Color School.

But those it does are apt to be exemplary, and none more so than its present one: Goya's Last Works, a shapely group of some 50 paintings, drawings and etchings from the closing years of the great man's life.

Depending, as it does, upon the individual, upon the subjective and automatic and personal qualities of the that man, the painting can be no better than the artist.

The artist's raucous compositions read more like butt - dialed emojigrams... Bernhardt's lexicon indulges a pronounced nostalgia for the Day - Glo disposables of the late 1980s and early 90s — curly - corded telephones, Sharpies, Rubiks Cubes, ChapStick tubes, Pac - Man, Papa Smurf... This rollicking volume supplements more than one hundred pattern paintings.