Sentences with phrase «motifs from»

The Painted Furniture Sourcebook: Motifs from the Medieval Times to the Present Day by Annie Sloan - Painted furniture and interiors expert Annie Sloan leads the enthusiast through a fully illustrated, international spectrum of decorative styles — American colonial, Dutch folk art, Irish vernacular, Scandinavian neoclassical, Oriental lacquerwork, German baroque and more — all achievable by collectors, decorators and do - it - yourselfers.

Colors and motifs from nature introduce charm to this quaint bedroom.

Find cosy blankets at The Atlantic Blanket Company and sew on crested blaster badge motifs from MacCulloch & Wallis.

A comprehensive reference spanning some three thousand years of design provides more than 3,500 full - color photographs and descriptions of furniture representing every style and form, along with an overview of decorative motifs from key periods, profiles of important designers and craftsmen, a study of important movements in furniture design, and more.

Each area consists of different cultural markings and motifs from the Torres Straits and across mainland Australia.

On the other, the P20 and P20 Pro act is if those matte motifs from the Mate 10 subsumed everything.

Arranged thematically, the more than eighty small drawings, large - scale works, and sketchbooks on view will foreground Brown's iterative reworking of motifs from her wide - reaching arsenal of source material — prints by eighteenth - century draftsman William Hogarth, pages from animal clip - art books, and the cover of Jimi Hendrix's 1968 album Electric Ladyland are just some of the images that Brown has rendered again and again in her own hand.

In the late 1980s, when Chris Martin began showing his paintings, he adapted signature motifs from Paul Feeley and Philip Guston, among others, which was a way of paying homage to them as he worked his way through their iconic images.

Curated by Laura Hoptman around an idea of «atemporality» in order to address a supposedly free condition in which painters could pull styles and motifs from traditions potentially across the span of civilization, the references felt stiltedly 20th century.

It joins more than seventy small drawings, large - scale works, and sketchbooks featured in the exhibition which the press release describes as an assemblage of Brown's «iterative reworking of motifs from her wide - reaching arsenal of source material.»

The increasingly visible curator David Gibson has organized «Culture Vulture,» a group show at Jack the Pelican, on Driggs, featuring artists who lift themes or motifs from foreign frames of reference — or wish themselves into one.

In new two - part ink and wash drawings, Georg Baselitz pairs reconsidered motifs from his own oeuvre with iterations of a nineteenth century self - portrait by ukiyo - e artist Katsushika Hokusai.

Jasper Johns, who has long created sculptural paintings incorporating wax and collage elements, made a dynamic series of cast reliefs in the early 2010s, revisiting motifs from earlier in his career.

Taking visual cues from artist Michael Craig - Martin and sampling motifs from some of the 200 tribal communities across west Africa, his drawings depict a new citadel housing a grand public arena where «linguistic and cultural knowledge is shared through celebration and traditional methods of production».

For his first solo exhibition, Sean O'Connor remixes classical motifs from antiquity, contemporary «bro - mo» culture, and Victorian wallpaper for step - and - repeat patterns of sporty hot dudes.

By reanimating historical styles or recreating a contemporary version of them, sampling motifs from across the timeline of 20th - century art in a single painting, these artist manage to, both incarnate and annul the fabric of time.

Andy Dixon paints with Bosschaert's Belgium, affectations from Matisse and Rousseau and motifs from Veronese Renaissance Italy all at play by his easel.

His recent portraits — including a depiction of his wife and muse, Rachel Feinstein — use motifs from sources as varied as seventeenth - century painting, 1950s women's magazine ads, and pornography.

One of 15 motifs from an edition of 75 + 10 A.P. Copies published portfolios «Private Property, Suite I ``, ed.

Additionally, the artist has noted that they are motifs from nature, mimicking the outlines of vines, flower petals or cresting waves.

To see the film the viewer walks through an expansive sculptural installation, in which motifs from the film are played out; giant diagrammatic stick figures in the warning colours of yellow and black tower over a school girl inhabiting the world of SCHOOL OF CHANGE.

As points of departure for these individual experimental arrangements, Germann uses characters from history such as Napoleon or motifs from myth and fantasy such as lycanthropy (from the Greek lukos, «wolf,» and anthropos, «man»: the werewolf motif), which he subjects to a revisionary rewriting, interweaving factual and fictional aspects.

Arranged thematically, the more than eighty small drawings, large - scale works, and sketchbooks on view will foreground Brown's iterative reworking of motifs from her wide - reaching arsenal of source material — prints by eighteenth - century draftsman William Hogarth, pages from animal encyclopedias, and Jimi Hendrix's 1968 album cover for Electric Ladyland are just some of the images that Brown has rendered again and again in her own hand.

Determined to introduce motion into painting, Mr. Breer had already begun making stop - action films, titled «Form Phases,» based on motifs from his paintings.

In particular, he incorporated ideas and motifs from small studies into his large compositions, and would repeat certain elements in his paintings, sometimes years later.

Hollowell is happy to sit between Georgia O'Keeffe and Judy Chicago, taking motifs from both.

In the case of Judith Bernstein, whose paintings are now on view at Mary Boone, a moment of reflection by the artist can shift a set of motifs from the insatiably primal to the acutely personal.

They often combine his now - famous motifs from early in his career — flags, maps, numerals, cross-hatching — with new ones — a Harlequin's costume, a piece of string, or flagstones.

Her large - format colored drawings impress with their obsessively meticulous execution and are characterized by motifs from a variety of pop - culture sources.

Through Berman's appropriation, Kabbalah and Christianity are woven monochromatically with motifs from contemporary Americana, all fitting in the palm of a hand.

Jennifer Steinkamp creates highly detailed, digital animations of motifs from nature.

Using motifs from nature, heritage, pop - culture and faith, he produces surreal illustrations and paintings that reflect the thoughts and questions he poses about life and relationships.

All of the major subjects and periods in Picasso's oeuvre reappear in the exhibition in the from of artist's reception of them: the Blue Period and the associated themes of loneliness, despair, and poverty, but also more lively motifs from the Rose Period, such as the world of the circus, Harlequin, or tightrope walkers.

Steinkamp creates highly detailed, digital animations of motifs from the natural world.

Barney's sculptures translate motifs from River of Fundament into autonomous works of art, bearing witness to these set - piece performances while recasting their themes of decay, regeneration and alchemical metamorphosis.

In the presentation at Matt's Gallery in 2012, the viewer walked through an expansive sculptural installation, in which motifs from the film were played out; giant diagrammatic stick figures in the warning colours of yellow and black tower over a school girl inhabiting the world of School of Change.

Some of these sublimely empty pictures consist only of bands of soft yellow and blue, while in others he seems to be reprising motifs from pictures painted decades earlier as though painting his own memories, confronting his own mortality.

The artist later augmented his practice of inventing forms by seeking fresh inspiration and new motifs from a variety of unlikely sources, and in 1965 he began a series of paintings depicting tents and tent - like forms the artist called «diamonds».

Here too in GuytonWalker we find motifs from high and low culture.

In each diptych, Baselitz pairs reconsidered motifs from his own work with iterations, in ink with blue, yellow or green watercolor washes, of an intimate late work by Hokusai, a wry self - portrait sketched at the end of a letter to his print publisher in 1842.

The artist later augmented his practice of inventing forms by seeking fresh inspiration and new motifs from a variety of unlikely and banal sources, and in 1965 began this series of paintings depicting tents and tent - like forms.

For this cycle the artist strapped his easel to his back and hiked day after day, painting motifs from Lake Thun area («View into the Justus - Valley» such the mountain «The Niessen») in the style of plein - air painting.

British artist Jessie Makinson paints exquisite multi-layered figurative compositions that drop art historical references as well as borrow patterns and motifs from other times.

Motifs from cartoons, American history, Egyptian and Latin American art, etc. grace their plates and vessels.

The somewhat surreal setting will present motifs from nature, such as spider webs and creeper plants, which convey a certain level of mystery and danger.

Let's take a quick, no doubt incomplete, stock - check of recent artists who have incorporated motifs from the pantheon of Western toons in their work.

As Hess wrote in his mythologising obituary for Kline, «Starting with motifs from swift brush drawings, wrenched out of scale by enlargement, he forged a style and an image out of the broken past with the verve and speed that Siegfried forged his sword.

It also includes familiar motifs from his more than twodecades - long body of work, such as Dutch wax - printed cloth.

The exhibition was an opportunity for the artists to frame and re-present particular motifs from their practice, re-appropriating their own work to create another system of meaning and thinking about meaning.

Presented with the opportunity to survey her practice, the L.A. - based artist has chosen to reconfigure motifs from her practice, and display them in mutated forms on 17 large - scale Sheetrock panels made to represent, to scale, the perimeter of her downtown studio.