Sentences with phrase «more flattering painting»
Jenny Saville's self - portrait feels painful to look at while Celia Paul chooses to paint herself as model and painter (she is on the cover of the catalogue in a more flattering painting, painted by her then lover Lucian Freud).
https://www.independent.co.uk/ Not exact matches
The company says that the solar cylinders — paired with a roof painted white to better reflect sunlight — can collect 20 percent more sunshine than their conventional flat counterparts.
The city has also launched several programs to turn down the climate's thermostat, such as the Million Trees project (more than half a million have already been planted around the city) and painting flat roofs with a white or «cool» coating that reflects the sun's energy.
Painting atomically precise carbon nanotubes onto a cathode produces flat panel lights a hundred times more energy efficient than LEDs.
I've always used flat or more often, craft paint.
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If you have existing flat paint that you plan to use that would save you more money on this too.
Then I added 3 more parts untinted (I liked the neutral base color as it was) flat latex paint.
SS was more Oil Painting and flat (ish), Twilight Princess had more of a realistic tone, OOT has more of a Mario like quality to it's style.
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Finally, the whole thing was slathered in flat - black paint, lending it even more attitude.
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Maybe she hoped the paintings of her would come out more flattering than they did.
So if you feel that your artwork is a little flat, or could do with having more life in it, come and join Dynamic Pastels and start creating more dynamic paintings today!
So he is able to tell his somewhat patronizing guide, the French critic Pierre Schneider, to see Uccello's The Battle of San Romano as a modern painting, a flat painting, and to explain why Mantegna's Saint Sebastian bleeds no more than a piece of wood despite being pierced with arrows.
I capture more truth in a painting than anyone wants me to reveal, and that's not necessarily flattering.»
The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.
It opens to anything... Actual space is intrinsically more powerful and specific than paint on a flat surface» (D. Judd, «Specific Objects», Arts Yearbook 8, 1965).
Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.
More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.
It looks as if he paints the stripes with a flat brush, sans tape, so the ever - so - slight line variations within each stripe combine to generate many more visual watts than hue or color placement alone could do.
Nor do I think, like Sam, that «Red Label» is a flat image; I think it has, along with quite a bit of Smith's very early, freely - brushed but clearly structured work of the late fifties, more spatial «life» in it than much of the stuff that came later, work that attempted to wed painting to literal three - dimensionality.
It was so smooth and flat and the edges were stunning, but the moment I wanted to push more movement and energy into the painting, it just couldn't handle it.
Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.
By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.
Or as artist Frank Stella defined it, «a picture is a flat surface with paint on it — nothing more.»
Although these prints were the first to emerge from a metal - relief series, they are perhaps more directly related to the affiliated small - scale, flat, mixed - media paintings that incorporated graph - pattern backgrounds.
The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.
In his more recent body of work, titled Flat Screen Nature (2012 — current), Goode uses an industrial hand saw to cut through sheets of painted fiberglass, creating allegorical landscapes of jagged edges and menacing peripheries; the artist's visual vocabulary comes full circle to represent our environment's vulnerable sky, land, and sea.
The majority of the works in New Image Painting require a sense of humor to get past an initial hit of awkwardness, but when subjects are more clearly painted, such as in Henry Taylor's Where Are my Brothers Keepers (2008) or Sean Landers» Around the World Alone (Boy Skipper — Dawn)(2011), the jokes tend to fall flat.
Such spatial mutability is more refined in the «Homage to the Square» paintings, which often read simultaneously as receding, like a sunken walled court; protruding, like a flat - topped pyramid; and holding steady in a single slightly vibrating plane — a temple gate to another world.
The productive tensions between an abstract expressionist engagement with surface, paint, and gesture and a more decisive shift into the ambiguous terrain between painting, collage, and assemblage find their fullest expression in Untitled [black painting with portal form], specifically in the way the composition is structured around (and then decisively proceeds from) a tonal, monochromatic center: a flat, inky, double - truck sheet of newspaper.
And his numerous late series of flat, hard - edged geometric abstractions on multiple aluminum panels — exploring the cardinal points, New York City and the times of day — confirm Palermo to be a genuine painter who can push abstraction's economy of means to the point that his imagery resembles little more than signal flags yet still engages as serious paintings.
The more colorful, perhaps flatter paintings of the late fifties spar with a starker patchwork palette, to forms more interloping and bodily in the early sixties.
Painting as more than strictly a technique, but an attitude, as in Wächtler, a way of welding a certain type of depth or ambience beyond the canvas, was abundant also in a group exhibition curated by the artists Anna Lucia Nissen (b1985, Berlin) and Alex Rathbone (b1987, Middlesex, UK) inside their Schöneberg flat.
She explains that she had to «grapple with the flatness as it was suffocating [and] restraining,» «worked more in flat surfaces after coming back from India and started feeling trapped,» and «needed to get space back into the painting.»
By the time I showed at Holly's my paintings were still flat but had become more inventive and complex.
Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.
In abstract painting, there has been this tendency to denounce pictorial space, to make it more flat, to reduce everything down to the plane.
Pierogi intends to use the old location for one - person exhibition and Pierogi's Flat Files, while the more expansive Boiler allows Pierogi to mount larger - scale sculpture, painting, and installation exhibitions and present performances, readings and other events.
Having painted initially in a flat, linear mode, Caulfield became increasingly alive to the potentiality of paint to create light and shade, and his mature work allowed for more sculptural interpretation of the depicted scene.
Greenbergian thought says that painting should be the story of the painting's own making, and that part I agree with — it's that kind of flat - footed... but I would say that somebody like Mary Heilmann, who started out in craft, is more of an influence on me than Greenberg's criteria — just her play it as it lays, put it down here, one - two - three, without any trickery.
There doesn't seem to be a secret that needs uncovering: when I ask what prompted him to move from the lush, textured surfaces of the paintings he produced in the 90s — canvases that seem to have a warm bloom across them like a beautiful mould — to the flatter, looser, more painterly style he employs today, once again, he has no complex rationale.
Glasco's work of later decades revealed a flatter, more patterned approach to the canvas before the artist's final shift to the stylized collage paintings of the late 1970s through to the end of his career.
Wood's colorful, flat paintings depict interiors, landscapes, vessels, plants, and other images the artist enjoys — like basketballs, baseball cards, portraits, and more.
A small retrospective of Ms. Jaffe's large - scale signature paintings — of her ebullient, flat geometric shapes, lines, blobs and squiggles on generous white grounds — confirms that she has been successfully mining hard - edged abstraction for more than 40 years.
The «billboard paintings» are in contrast to canvas works, more flat and featuring iconic or catchy imagery, while the drawings are the most natural for the artist.
The 60s paintings are often packed tighter with more angles and movement, while the newer paintings are more open with a combination of flat and painterly brush strokes and surfaces that frequently include circular shapes.
The files themselves are chests of flat drawers holding portfolios of artworks, including all types of media, from painting, drawing, and collage on paper, to photography — anything more or less flat and able to fit in the drawers.
Whereas we typically paint on a rectangular flat surface, pumpkin painting gives you a chance to experiment with painting on something that is to be seen in the round, more like a three - dimensional sculpture.