Sentences with phrase «much larger painting»

The most impressive example here, from 1960, is a painting less than half a metre high and almost 10 metres wide, actually a long strip cut off the bottom of a much larger painting that was to cover a whole gallery wall but proved too big.

These paintings were much larger paintings, almost filling up an entire wall from floor to ceiling.

The paintings feel compressed because of the combination of scale and complexity and in some way they read like much larger paintings.

Since then, much larger paintings by Giacometti have made more than $ 10 million, so the # 2 million - # 3 million estimate on this painting does not look excessive.

Not exact matches

Perhaps I'm over-thinking it, but coupled with CircleUp, I believe we're seeing the first strokes of a much larger picture being painted.

Love this look so much... I have the same style above my sofa but more of a country farmhouse look... a large burlap frame pic between two road - side shutters painted white!

I took a much needed break from my larger projects, and decided it was the perfect time to give a makeover to some garage sale finds using up some left over milk paint.

«Unified through the motif of splattered paint, each channel has been designed to be read as a unique part, while simultaneously being piece of a much larger networked whole,» share the artists.

Unlike the other two updates, the brake package will help improve the 228i's appearance through its larger brake discs (13.4 - inch front, 13.6 - inch rear) and Dark Blue - painted calipers with the much - coveted «M» logo.

3 slides, ducted roof A / C, wired and braced for a 2nd A / C, electric jacks, electric tongue jack, new hybrid aluminum step, solid surface counters, large LCD TV, outside kitchen, power awning, frame less windows, painted front cap, great private bathroom with 60x80 queen bed, Huge double slide living room, and much more... 2

Take a close look and you will notice the air vents on the side are much larger and the lower fins on the corners are more like the ones seen on the Murciélago Super Veloce, have them painted in matte black and they turn the Gallardo into a very aggressive looking Bull, ready to stampede over anything in its path.

-- And even if you paint a scenario where Applegreen ends up facing an array of smaller / more nimble as well as much larger / more aggressive competitors, the sector's still all about location — which explains how so many single - store operators have survived & thrived this long — which still presents opportunity for Applegreen to continue carving out share for the foreseeable future in the UK / US, where it has a negligible presence.

Known as «White City» because of the large use of white limestone and white paint this traditional city depicts much of the splendor of Colonial Mexico.

Sunwing Resort & Spa enjoys a heavenly location and makes the most of it.As to be expected at a family - friendly resort, rooms feature a kitchenette (but no oven) and the Happy Baby rooms are just perfect for young families as they also have a mini-garden and are poolside.For active families Sunwing has a busy schedule that changes weekly and that also involves a lot of activities and fun with shows, face painting, movie time, acrobat show, water basketball and much more.There are 283 studios and family suites with six types of accommodation equipped with air conditioning, satellite TV with movie channel, large fridge, light kitchen equipment, internet connection, and private oversized balcony or terrace overlooking the gardens or Andaman Sea.

Irma pummeled the marker Sept. 10, knocking out a large piece of stucco and stripping much of its paint.

Like the vast majority of arcade hits from the developer, this is a simply beautiful game, so much so that even the 3D visuals of later generations couldn't compete with its hand - painted 2D backgrounds and large, fantastically animated sprites.

It could have been that two rooms were closed for renovation and the works in the first two rooms were large - format heavily saturated hues and each painting very similar to the next, so it wasn't much variety.

I've been charging per square inch but am totally afraid to paint larger... because of how much I would have to charge per sq..

Limitations in some templates; too much wasted white space (would love my work to be displayed much larger); integration of pages to sell prints and / or products with my work on it in pages with the original artwork (lower priced or alternative options for folks who aren't yet ready to invest in fine art); room setting view where customers can see the size / shape of a painting / print in an actual room like over a couch or bed, in a kitchen, etc; greater options in template layout (social buttons and email NL signup at top of page, etc).

«If I was going to get around Bill de Kooning, first of all I had to go faster than he, and second of all I had to do something much larger than he,» says Whitten, who created a 12 - foot - wide tool he called the «developer» to drag paint in a single gesture across the entire picture plane.

He paints large, and he packs as much on a gallery wall as it will hold, as if to blow the entire animal kingdom to kingdom come.

Unlike his figurative work, these paintings are larger in scale and made using a much different technique, utilizing a broom to paint and later flooding the surfaces with chlorine and water.

In these stills from the scene that appears in Belz's original trailer, Richter very thoughtfully creates classical gestural abstractions: Which remind me of nothing so much as the great, underappreciated - until - just - now, large - scale paintings of Willem de Kooning from the mid-1970s.

LG: Memory and invention seem to play a large role in many of your outdoor paintings, How much does direct observation of the motif join this process or does it vary in each painting?

In the Brooklyn location, Smith compiles a much different selection of work, including a large series of tropical sunset / palm tree paintings, coupled with shelves of quick, aggressive ceramic works.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

Coombs views the raw canvas of his paintings as a large sketchbook page, as much of a place for planning and thinking as it is for plundering and indulgence.

Each element of the work — title, color composition, shifts in tone and texture — reveal a body of thought much larger than any single painting.

At the press opening, in the conservation studio that has a glorious floor to ceiling wall of glass on the Hudson (light, light, light), a kind and concerned professional explained: «We have put glass on many paintings for the first few months, because, having learned a lesson from the Tate Modern, we are expecting much larger and much different crowds from the old location, people who do not pay attention to their backpacks or care much about the art.»

The scale of the objects rendered is ultimately unclear: the balls could be of the large, inflatable type, but they alternatively suggest the density of much smaller decorated wooden croquet balls (a disjunction heightened by the scale of the paintings, which range from larger - than - life to miniatures of only 10 by 6 inches or less).

«Maybe it [painting] appears that way [dead] if you spend much time in New York City's major museums, where large group shows of contemporary painting are breathtakingly rare, given how many curators are besotted with Conceptual Art and its many often - vibrant derivatives.

In many of your paintings the foreground and background together create an all - over atmospheric field, while in your recent paintings, large star shapes become significant points of focus constructing much more of a figure / ground relationship.

My penis came out much larger in the painting.

The painted cotton fabrics shown at the Amsterdam Art Fair still hold this suggestion of various natural processes, but on a much larger scale.

For a large institutional show it is winningly eccentric — and isn't this what much of the best of British painting is?

Although he had a show of large paintings at O. K. Harris a few years back, one may also not appreciate just how much his incremental processes works on a large scale.

The interplay of much black and white media in the exhibit — the large wall drawing Head and Tales, 2007, which consists of dark marks made using spray paint and abalone shells cast from charcoal — arguably accentuate this.

A small work might place a tree trunk at the center, while the networks of tree limbs, rocks, streaks of light, or ripples of water in his large paintings have much in common with the weave of a drip painting or of the canvas itself.

But the artist and critic Brian O'Doherty did something of the sort in the 1970s, when he wrote of how far both the creation and canonisation of modern art had been informed by the dominant «white cube» model of gallery space, which had conferred a monumental aura on much large - scale abstract painting.

Much of his large scale work is textile - based, a medium which is more readily available than paints.

The large oil on canvas painting that carries the name of this exhibition, «The Landscape in a Still Life,» is much like a portrait of a garden.

Men receive much of the attention in abstract expressionism, a movement from the 1940s and 50s known for large, bold paintings, and for big names like Jackson Pollock and Clyfford Still.

He has also painted a large number of out - of - doors watercolours which express much the same ideas as his egg tempera works, but in a more relaxed and joyous mood.

A maximalist, or complex visual aesthetic, seems to loom large over much of the painting and installation on view, although quiet nods to art's minimalist past appear throughout the galleries.

When he returned to New York in the 1950s, much of the work Kelly made, at first, as he found his way more fully into his own language, was in the form not of paintings but of drawings — works on paper in ink, pencil and gouache, which he created as a way of working out where he wanted to go on a larger scale.

Collapsing History For my generation, the three great movements of post-war painting — abstract expressionism, minimalism and pop — are not so much antithetical to each other (i.e., movement / counter-movement, assertion / repudiation) as they are part of a larger ongoing redefinition of the form of painting itself.

Painting, however, continues to have a large public and young artists setting out to be painters now need more than ever to see how artists of earlier generations successfully resisted the status quo and remained outside what evolved into an academic style, for this is what much of the conceptual, film and photographic work has become; merely another academy.

One piece that especially stood out — a large work made up of twenty white paper squares divided by a thin wooden frame on which much smaller squares and rectangles painted in oil had been arbitrarily placed — is a visual testimony to the love of music and poetry that informs the creative work of this painter.

Driven by emotion the central tension in much of the work lies in the play between dark and light, whether that be in explorations with color and abstraction or in large - scale landscape paintings.

Situating Rothko's work of this period in relation to his later work — the luminous floating blocks of painted colors for which he is best known — Kertess remarks: «The work he created in the 1930s is filled with an intensity, pathos, and brooding light that embody not only his personal sense of dislocation, but that of much of the population at large during the decade of the Depression.