Sentences with phrase «naked figures in»

They have depicted themselves as naked figures in their pictures, recasting the male nude as something vulnerable and fragile rather than as a potent figure of strength.

Not exact matches

When a naked bank robber was arrested as he ran along Las Olas Boulevard throwing stolen money in the air last July, many figured it was just another bizarre South Florida moment.

Away from the mob, a man of «Honour» is flogged at a whipping post by «Vilany,» assisted by an ape in devilishly flamboyant garb, while the figure of «Honesty,» stripped naked, is bludgeoned by «Self Interest» atop a wheel of fortune as a minister intones a prayer over him.

The way those things hug the «male figure», an 1 % increase in bloodflow to the junk can be observed with the naked eye from across a gymnasium.

While Paul's thought is by no means always clear, and perhaps from letter to letter not always exactly the same, it is nevertheless certain that his concept of resurrection can be clearly distinguished from that of the traditional «bodily resurrection».27 Paul does not speak in terms of the «same body» but rather in terms of a new body, whether it be a «spiritual body», 28 «the likeness of the heavenly man», 29 «a house not made by human hands, eternal and in heaven», 30 or, a «new body put on» over the old.31 In using various figures of speech to distinguish between the present body of flesh and blood and the future resurrection body, he seems to be thinking of both bodies as the externals which clothe the spirit and without which we should «find ourselves naked».32 But he freely confesses that the «earthly frame that houses us today ’33 may, like the seed, and man of dust, be destroyed, but the «heavenly habitation», which the believer longs to put on, is already waiting in the heavenly realm, for it is eternal by naturin terms of the «same body» but rather in terms of a new body, whether it be a «spiritual body», 28 «the likeness of the heavenly man», 29 «a house not made by human hands, eternal and in heaven», 30 or, a «new body put on» over the old.31 In using various figures of speech to distinguish between the present body of flesh and blood and the future resurrection body, he seems to be thinking of both bodies as the externals which clothe the spirit and without which we should «find ourselves naked».32 But he freely confesses that the «earthly frame that houses us today ’33 may, like the seed, and man of dust, be destroyed, but the «heavenly habitation», which the believer longs to put on, is already waiting in the heavenly realm, for it is eternal by naturin terms of a new body, whether it be a «spiritual body», 28 «the likeness of the heavenly man», 29 «a house not made by human hands, eternal and in heaven», 30 or, a «new body put on» over the old.31 In using various figures of speech to distinguish between the present body of flesh and blood and the future resurrection body, he seems to be thinking of both bodies as the externals which clothe the spirit and without which we should «find ourselves naked».32 But he freely confesses that the «earthly frame that houses us today ’33 may, like the seed, and man of dust, be destroyed, but the «heavenly habitation», which the believer longs to put on, is already waiting in the heavenly realm, for it is eternal by naturin heaven», 30 or, a «new body put on» over the old.31 In using various figures of speech to distinguish between the present body of flesh and blood and the future resurrection body, he seems to be thinking of both bodies as the externals which clothe the spirit and without which we should «find ourselves naked».32 But he freely confesses that the «earthly frame that houses us today ’33 may, like the seed, and man of dust, be destroyed, but the «heavenly habitation», which the believer longs to put on, is already waiting in the heavenly realm, for it is eternal by naturIn using various figures of speech to distinguish between the present body of flesh and blood and the future resurrection body, he seems to be thinking of both bodies as the externals which clothe the spirit and without which we should «find ourselves naked».32 But he freely confesses that the «earthly frame that houses us today ’33 may, like the seed, and man of dust, be destroyed, but the «heavenly habitation», which the believer longs to put on, is already waiting in the heavenly realm, for it is eternal by naturin the heavenly realm, for it is eternal by nature.

Still scoffing, I peered at the naked figures fleeing towards the pit of Hell, out of my usual faintly morbid interest in the alleged terrors of damnation.

The viral video was too short that viewers could not figure out the direction the actors headed but many who watched the entire clip said the naked rider stopped over and bought a meal at «Fatawu Bicycle», a popular eatery in town.

Brian Mautz, an evolutionary biologist at the University of Ottawa in Canada, generated computer images of naked male figures, varying them to represent the normal range of height, hip - to - shoulder ratio and penis size.

With its very slim straps and usually figure cling - y silk material, it's easy to feel naked in a slip dress.

These full - figured women are the gold standard by which all other women should be measured, and a man who is fortunate enough to enjoy the fruits of these Goddesses in all their naked glory, has truly experienced heaven on earth.

You quickly find yourself caught up in a rebellion to overthrow the oppressive regime of Pagan Min, a figure known as much for his sense of style and charisma as for his cruelty and naked brutality.

Oblivion saw her as the pandering girlfriend figure and in Hitman, she was featured as little more than something naked to look at.

After this, Freddie is visited in his room by Master's daughter Elizabeth (Ambyr Childers) who goes even further in her attempts to seduce him than in the film, planting a kiss on him and dropping her robe to reveal her naked figure.

With Good Luck Chuck just around the bend, and making such a desperately naked play to position itself as the next Wedding Crashers, I figured it's time to re-post a slightly redacted version of that film's original review, originally published in Screen International upon its theatrical release in 2005.

I had never tried to tell my father's story in words before now, but my first completed sculpture of him was the reason for our trip: a three - foot mahogany figure of my father naked, kneeling on a half - foot - square base, his back arched like the curve of a crescent moon, his downcast eyes fixed on his very long fingers and the large palms of his hands.

Then again, Kirby is a nominally male figure who's naked, bright pink, and best known for his superhuman ability to fit large objects in his mouth.

I play with sexual humor, [and] that is the reason why most of the time the figures [in my work] are totally naked.

A central figure on the New York avant - garde scene, Kusama was famous for her delicately patterned abstract canvases, soft furniture with phalluses, and happenings in which she painted naked participants with her now signature polka dots.

«George's Basketball,» «Ada,» and the cutout of a bather in a bikini called «Maxine» (her figure naked when seen from behind) are among the first full - throated moments in American Pop Art.

This mythic figure is mostly naked in each scene with powerful thighs, sagging breasts, and protruding stomach — the very antithesis of the ideal female form in Western culture.

I can reasonably see questions about role models in Robert Melee's plastic fashion show, his near - naked white figures posed against poplar blinds.

In that exhibit Hoff showed two ceramic sculptural figures of women, both of which evoked an almost tribalistic aura of feminine powers, naked and primitive in our urban twenty - first century worlIn that exhibit Hoff showed two ceramic sculptural figures of women, both of which evoked an almost tribalistic aura of feminine powers, naked and primitive in our urban twenty - first century worlin our urban twenty - first century world.

The figure is also bathing in liquidity — a perfect metaphor for paint — naked, in pleasure, but also abjectly covered in smudges, swiveling, scrubbing, identity blurred.

In Red Figure, 2017, acrylic on canvas, 122 x 152 cm, the last work completed, a naked female figure in strong red hues, casually seated with a strong poise, holds out her arm with a decapitated male head in the palm of her hanIn Red Figure, 2017, acrylic on canvas, 122 x 152 cm, the last work completed, a naked female figure in strong red hues, casually seated with a strong poise, holds out her arm with a decapitated male head in the palm of herFigure, 2017, acrylic on canvas, 122 x 152 cm, the last work completed, a naked female figure in strong red hues, casually seated with a strong poise, holds out her arm with a decapitated male head in the palm of herfigure in strong red hues, casually seated with a strong poise, holds out her arm with a decapitated male head in the palm of her hanin strong red hues, casually seated with a strong poise, holds out her arm with a decapitated male head in the palm of her hanin the palm of her hand.

South's paper constructions have a faint echo of the stylistic rendering of objects and figures in Philip Guston's paintings from his «cartoon» phase, which is also brought to mind by Floor / Ceiling's illumination by bare, hanging light bulbs, with the naked bulb a frequent motif in many of Guston's works.

The rosy pink color that dominates the Bortolami show's eight paintings — four large seasonal scenes of defiantly numinous figures, Dionysian grapes, leafy curlicues and metallic silver daubs; three other large paintings; and one modestly sized portrait of a naked cat, facing away from the viewer into a stoically indifferent opacity, its body like a chicken's carcass, its red tail like a snake charmer's cobra, poised to strike — brings to mind the mysterious pink lasers that transmit divine messages in Philip K. Dick's novel VALIS.

Another work in the same series places naked pole - dancing black women amidst police guns and protesting figures, a murky scene perhaps inspired by the tear - gas clashes that took place in Ferguson, Missouri last summer.

Prudence Heward exhibited frequently during her lifetime and she often received positive reviews — although some of her figure paintings, such as The Bather (1930)(Art Gallery of Windsor) and the Agnes Etherington Art Centre's Hester (1937)(one of her paintings depicting a naked black woman), provoked hostile reactions in the press.

diameter) demonstrates this mortal unease, as the tiny, naked and blindfolded figure of a man is flung towards the jaws of a ferocious, stylized beast breathing fire, a cloud of black smoke smothering the many writhing nude figures trapped in its lower jaw.

In contrast Transition shows a naked figure of a man walking into a pool of water.

The exhibition brings together two large works on leaded panels of glass — two naked female figures seated in profile, impassive, emitting shooting stars — a series of delicate aquatint etchings, large bronze wall reliefs and a suspended sculpture, the shadows of which transform the gallery into a barely perceptible dabbled glade, along with a stunning jacquard tapestry depicting two eagles in descent against a chalky sky.

KAWS» deep black Michelin - like figure CHUM (2009) stands determinedly next to graphic paintings by Gokita, offering his protection to the naked and faceless vulnerables posed in the images, while ACCOMPLICE (2010)-- a matte black toy bunny sculpture with large Xs covering his eyes — stands hunched in defeat across the room, out of sync with the bright canvases that surround him.

White Snow Placemat Drawings, WS, 2013 — 14, a set of six scallop - edged paper place mats, each depicting an assortment of quickly drawn, naked, dripping, hairy figures engaged in various acts of dominance or submission, set the tone for this simultaneously abject and exuberant show.

Her sci - fi touches inspire a shiver of dread: the alabaster skin, the psychologically disturbing scenarios, or the blinking eyes projected onto the figure of a naked woman in «Pause.»

The two naked figures — a black man and a white boy, almost - but - not - quite touching — were intended to be displayed in front of the Whitney Museum of American Art.

In this work, a naked male figure appears to be stepping into the right panel but he casts no shadows and two bright red arrows of unequal length point towards him.

In Elliott Linwood's «Outbreak (Detail),» the naked figure is sprawled out against the vastness of a crater, an image of extreme fragility and haunting finality.

I do like the idea of «the model» however — the naked figure, posing to be drawn in the studio, or the human form hired to dress with ones hot designs for the new season.

This injection of «naked» urbanism into the not - so - naked frame of the gallery suggested the stripped - down figure of the artist - as - flaneur - in - the - buff parading another form of sly institutional critique.

On one hand, the dreadlocked figure — sometimes in a business suit, sometimes naked — is blinded or constrained by the ties, perhaps an allusion to male responsibility, or, as Whyte has suggested, a more sophisticated form of Western bondage.

Appearing in a series of sculptural situations, often on the point of collapse, or running through some seemingly meaningless protocol, Griffiths» creation is a tragi - comic figure: a naked, puppet - like Caucasian male who seems not to know that his strings — if they ever held him up — have now been decisively cut.

The first single from Odd Blood, «Ambling Alp,» is an invigorating self - help anthem with cryptic allusions to boxing matches of the»30s, and is accompanied by a disorienting video that simultaneously points to the youthful exuberance of photographer Ryan McGinley and the mystical deserts of Alejandro Jodorowsky's El Topo — naked young bodies leaping and tumbling down sand dunes as a strange, shape - shifting figure clad in nomadic robes looks on from horseback.

The exhibition includes a series of watercolours the figures in which Austen likens to «naked ghosts» — survivors or victims of some unknown tragedy.

The naked figures resemble Picasso's classical characters in their sensual roundedness, but the action and mood could derive from Maurice Sendak.

When Livin and Dyin finally reaches its denouement, it does so in the collapsed shapes of the cartoon figures of Wile E. Coyote, Kool - Aid Man and Roger Rabbit, as well as a life - size sculpture of the naked artist himself.

Known for her explicit male nudes that quote and subvert the art historical tradition of male gaze onto female body, in her portraits feature artists, musicians and writers of both genders, dressed and naked, representing a pantheon of significant cultural figures.

In «Closer», Blanca finds himself in an embrace of found serenity — the artists naked body interlocked by two young female figures, allegories of eternal beautIn «Closer», Blanca finds himself in an embrace of found serenity — the artists naked body interlocked by two young female figures, allegories of eternal beautin an embrace of found serenity — the artists naked body interlocked by two young female figures, allegories of eternal beauty.

For many centuries religious / mythological figures in particular — for instance, Adam and Eve — were used in painting as a way to represent the naked body, usually a controversial, prohibited subject.

Perfectly formed milky white miniature female naked sculptures provocatively exuding flowers from between their legs, together with drawings framed in traditional Persian miniature albums, Sokhanvari's multi-legged stiletto and suspendered swastika mandalas; a Murakami-esque milk sprouting madonna and an erotic Egon Schiele figure sandwiched incongruously between a 16th Century Persian nightingale and the monolith (from 2001: A Space Odyssey) take us on a journey from the sublime to the ridiculous.

A small agitated figure enveloped in a rectangular form, surrounded by what he is watching: men with guns and half - naked women.