Sentences with phrase «nature of the paint as»

By exploring the very nature of painting both as cultured language and sheer expression, -LSB-...]

This, in conjunction with a certain wobbly, uneasy graphic line quality essentializes the nature of this painting as a person - like actor, a specific deviation from an ideal form.

In the purely philosophical sense, Richter's landscapes question the nature of painting as he intends them not be reproductions of nature, instead they are more impressions of it.

Known as his Pasta Paintings, the works are a saccharine, but serious critique of the essentialist approach to understanding the nature of painting as a medium in 20th century art.

The 60 - year - plus career of this great American color painter ended with the artist absorbed in deep meditation on the nature of paint as a carrier of transcendental light.

Not exact matches

The Washington Post reported that dozens of witnesses painted «a detailed portrait of Malvo's conversion from slight, obedient student to angry sniper,» as well as to his «subservient, eager - to - please nature.»

Nature has just as much beauty, order, love, and wonder as it does death, blood, suffering, and murder, and Scripture has hundreds of dark and disturbing passages which seems to paint a different picture of God than we read about in the Gospels or in 1 John 4:8.

The first hundred and fifty or so pages of his Leviathan show forth his attempt to paint that portrait of human being, but by almost universal agreement, he failed — that is, he could not both present human being as a part of the new nature and at the same time do justice to our direct experience of what it is to be human.

Its rigid compositional attempt to define a rational space is undermined by the floating figures and particularly by the raw application of paint, which sits on the surface of the canvas and reminds us of its autonomous nature as scraped pigment.

By the nineteenth century, however, patronized religious painting had become essentially trivialized, as John W. Dixon, Jr., indicates in his book, Nature and Grace in Art (University of North Carolina Press, 1964).

I do want to encourage all mom's to take heart this Mother's Day: However you hold your baby, in your arms or in your heart...... Remember these things: You are MOM You are strong Love never dies You are brave for all you've endured Sunshine comes after the storm The rawness of grief will not last forever Mother's Day is a chance to remember Your baby will never be forgotten If you are looking for a way to celebrate Mother's Day as a bereaved Mom — or for a bereaved Mom you know — here are a few ideas: Plant a memory garden Meditate in nature Create a symbolic painting Start a new journal Write your...

We have been painted a lie, and sadly we repaint it for ourselves as a culture dominantly divorced from the intimate, harmonious nature of becoming a mother.

The work is published in the October issue of the journal Nature Genetics and is featured on the cover with an illustration by Luisa Lens, which was inspired by the results of the Catalan teams as well as by the Salvador Dali painting «Paisaje de mariposa.

The findings, which have been reported in Nature Communications, reveal that the h - BN layers form the strongest thin insulator available globally and the unique qualities of the material could be used to create flexible and almost unbreakable smart devices, as well as scratch - proof paint for cars.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

The challenge might as handily have been provoked by numerous interpersonal events of a more explicitly private nature (but these lack the cachet of apparent social comment); for the most compelling relationships in the film and the narrative turns they generate are satisfyingly free of 1:1, paint - by - the - numbers cause and effect.

Relentlessly bleak and hopeless, as well as grisly and gory, this well - made thriller nonetheless paints an interesting portrait of human nature and the divide between perceived strength and kindness.

It treats its wintry landscape similarly: not as a metaphorical whiting out of sins, but as a tabula rasa upon which human nature — in big bright colors — will eventually paint its own selfish doom.

As a stay - at - home husband, Norm finds satisfaction in what he does with his life — despite the kitschy nature of his wildlife paintings — and ultimately some professional recognition; and Marge is able to hold onto an essentially positive view of life, despite the horrors of police work.

Yet this low - budget doc, the debut of Daniel Draper, paints a gentler picture of Skinner as a nature - lover and singer.

• Exterior design refined on an evolutionary basis with hallmark styling, proportions and body structure; characteristic design features such as hexagonal radiator grille, headlamps and rear light clusters with wide chrome surround, turn indicator element and peripheral body surround in black reinterpreted and given additional emphasis due to the surface design in each specific area; high - end details underscore the sophisticated nature of the new model; five exterior paint finishes, roof in contrasting colour available as an option at no extra charge.

Largely autobiographical in nature, the novel must have served as a cathartic release for Rattner who has said she painted over only some of the details in the story.

Taking clear design cues from the Samsung Galaxy S3 smartphone, think of the Note 2 as a kind of super-sized version of the flagship handset, swapping straight lines for sleeker curves and a white paint job «inspired by «nature», so the marketing blurb tells us.

Use the essay as a canvas on which you can paint your observations of human nature while objectively assessing the relationship you have with money and riches.

And as nature is capable of painting a masterpiece on a natural canvas, man is equally as capable of designing an urban landscape that oozes sophistication and artistry.

For some, the idea of in - game purchases of a random nature is dangerous, and the practice has been condemned as such, essentially describing loot boxes as gambling with a fresh coat of paint.

More than just a metaphor, his subject begs a question we as painters should all ask ourselves: is there enough stuff washing into our own paintings, not simply stuff off the mind, but stuff moved by the much greater force of nature?

In the end he found what he was looking for, which was not so much a new principle as a more comprehensive one: and it lay not in Nature, but in the essence of art itself, its «abstractness» — the qualities of the medium alone — as a principle of consistency makes no difference: it is there, plain to see in the paintings of his old age.

If, by dint of an absolute faithfulness to nature, Audubon convinces us of the viciousness of a snarling marten, O'Keeffe has us believing just as strongly that she found her subject as she painted it, levitating above the desert floor.

The most authentic statement of Manet's sense of his situation as a man and as an artist may well be his two versions, painted in 1881, of The Escape of Rochefort, in my opinion unconscious or disguised self - images, where the equivocal radical leader, hardly an outright hero by any standards, is represented in complete isolation from nature and his fellow men: he is, in fact, not even recognizably present in one of the paintings of his escape from New Caledonia.

With a nod to horror movies, hippie counterculture, and the rural Southern landscape of his youth, Dorn's distinct landscape paintings are not as concerned with an idyllic representation of nature...» See full article here.

Partially in response to an exhibition at the Jewish Museum, Artists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mythology.

The nature of the paintings» ground is allowed to be it's own color as is the texture of each material.

The essay «Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this Painting and Countenance» is, as is much of my writing on painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, discursive by nature, an attempt to try to find another way to speak about painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting beyond the overbearing arc of formal judgemental criticism, which has been, and continues to be so detrimental to any meaningful debate around painting, especially abstract painting in this painting, especially abstract painting in this painting in this country.

It's also important to understand that these are singular paintings that represent larger series and it is the protean as well as prolific nature of his sensibility that allowed these investigations to evolve in parallel while perpetually cross-pollinating.

I am thinking of objects in nature such as rocks, water, branches or a big fat sun / moon - as part of the narrative in these paintings and acting as metaphor for human interaction and strength of feeling.

Untitled III offers an encounter with one of the great masters of twentieth - century art, a window into his relationship with nature, with the land and sea as he transcribed it simply by brushing wet paint into wet paint.

His earlier works, produced in the 1980's, were signature Day - Glo, hard - edged paintings that acted as metaphors for the way in which social spaces have become delineated within the proliferating abstract nature of the technological world we now live in - as prisons or cells.

Her reading of Henri Bergson's theory of «living energy» is demonstrated in her paintings with active forms covering the entire picture plane, as she «believes in the interconnected nature of all living things...» [1] As such, she was among the early practitioners of the «all - over» painting style along with Jackson Pollocas she «believes in the interconnected nature of all living things...» [1] As such, she was among the early practitioners of the «all - over» painting style along with Jackson PollocAs such, she was among the early practitioners of the «all - over» painting style along with Jackson Pollock.

It was there that Thomas Cole and William Stillman, founding members of the Hudson River School Painters (1825 - 1875), developed the idea of landscape painting as an exercise in seeking truth, a truth found through close contact with nature and a disciplined observation of it.»

This lead him to adopt Barnett Newman as his new poster - boy, despite the artist's possessing vastly different ideas on the nature of painting.

Is the nature of each character formed as you spend long hours with a painting or do they spring instantaneously when working spontaneously with the hot glass?

Tiffany Bell and Frances Morris — the loving curators who put the London survey of her work together — include 1954's Untitled, with its Adolph Gottlieb — like shapes and a few other paintings of its kind, the better to show what it looked like as Martin moved away from the body and into drawing something more ineffable — nature, or more specifically, the cosmos at the heart of the natural world.

Smaller, juicier paintings such as «Goldenrods» and «Field of Wildflowers» see Katz using motifs from nature to experiment with the «all - over» approach to composition, whereby no one part of the composition is allowed to prevail over the others.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

Yet, as he explored these areas, he began to realize the transient nature of their existence; the demolition / painting over of works; the destructive rays of the sun; and even the continuous movement of these abstractions by the trains they sometimes were attached to.

According to Sara Reisman ``... Wojciech Gilewicz» practices is about expanding the scope of painting specifically and art art generally into the realm of daily life, usually public and sometimes private... Gilewicz... questions the very nature of art, dismantling it from the rarified, official spaces of culture to a much wider field that leads to the discovery that life itself as art.»

Building things, however, mainly small things, was and remained a part of my nature; it kept sneaking into my paintings in different ways: for example the cardboard dollhouses I made as props for my still life painting.

Linked to these individual studies are wide - ranging and imaginative writings on the nature of decorative art, the figure of the angel in Latin American «colonial painting», art as sanctuary, and the question of British identity.