Sentences with phrase «never painted from life»

Apart from a few early portraits Bacon never painted from life and preferred working from photographs as the presence of his models inhibited him.

He never paints from life, and the Met supplements its sixty - six paintings with a packed room of photographs.

Not exact matches

That, says Dr. Southgate, is because the issue is focused on HIV / AIDS, and she asks readers to consider the «incalculable loss» from the disease --» the loss to all those whose lives would have been touched, even changed, but were not, by books not read because they were never written, by paintings not seen because they were never painted, by performances never heard because the song was not sung.»

Although some of the imagery, beautifully captured by cinematographer Caroline Champetier, derives directly from the paintings of Jean - François Millet and the work of such filmmakers as Marcel Pagnol and Jean Renoir, I never felt as if he was aestheticizing the arduousness of the life put before us.

The quiet girl from Brooklyn refused to go back to the projects — being raised by her selfish aunt her whole life was the push she needed to run far away and never return.According to Ms. Hudson, actions have always spoken louder than words, so when a blast from the past resurfaces and refuses to take «no» for an answer, Nia decides to give him one hour of her time.Surprisingly, one hour turns into a week, a week transpires into months and before she knows it, the two have become a couple.Together, East and Nia don't paint the perfect - picture — they have nothing in common, and in fact, he's the complete opposite of everything she stands for.Dangerous, thr...

I watched a young artist paint a reproduction of a Dali painting from a postcard, having never seen a Dali painting in life.

, although it is painted from life, the figures never posed together and the still life and landscape elements within the paintings were constantly undergoing transformation.

Never mind that the same phrase applies to everything, from painting to a human life.

More than a hundred works on display (some never seen before in this country) include «The Naked Man» (1962), which was once confiscated by East German authorities, perhaps because of its depiction of a larger - than - life - size erect penis; work from his «Helden,» or «Heroes,» series (mid-1960s); and the upside - down paintings that made him famous in the»70s.

For a woman who lived from the greatness of the Hudson River School to the triumph of postwar American painting, she never truly escapes the gay nineties, although in her eyes it was never all that gay.

He then had a quantity of screens made from images of all sorts — current events and daily life, science and art, photos he'd taken himself as well as ones lifted from sources such as Life and Sports Illustrated — and began combining and recombining them over the next two years into an extraordinary series of paintings in which the lightness and near - bodilessness of the silk - screen ink, with which he never had to struggle, gave the compacted iconography a persistent flash of instantanelife, science and art, photos he'd taken himself as well as ones lifted from sources such as Life and Sports Illustrated — and began combining and recombining them over the next two years into an extraordinary series of paintings in which the lightness and near - bodilessness of the silk - screen ink, with which he never had to struggle, gave the compacted iconography a persistent flash of instantaneLife and Sports Illustrated — and began combining and recombining them over the next two years into an extraordinary series of paintings in which the lightness and near - bodilessness of the silk - screen ink, with which he never had to struggle, gave the compacted iconography a persistent flash of instantaneity.

I recognized that the objects and places he chose had a personal connection to the artist, which was made more evident with the knowledge that he painted them from life, and never from photographs.

Grace Hartigan herself declared that her work sprang from what was «vulgar and vital in modern American life» and, after a trip to Europe, announced that she could never work there and that New York was «the centre of modern painting».

Unlike his contemporaries, especially the Teutonic - shamanistic Joseph Beuys or the orgiastic Viennese actionists Otto Mühl and Hermann Nitzsch, Klein always presented himself and his art in a proper, civilized manner — notably during his performances of the Anthropometries, when he directing his «living brushes» from a distance like a Master of Ceremonies, never touching the models or the paintings with his own hands.

All of Bacon's brushstrokes of Edwards were painted exclusively from photographs and from memory, never from life.

But since Doig paints from photographs and recollections, never from life, that is only half the point.

... I never feel the need to paint directly from life.

Particular attention is given to the importance of motifs, themes and variations in his work, explored in over 200 paintings and works on paper from the past 13 years, among them new works never before published.Born in Edinburgh in 1959, Peter Doig was raised in Canada and spent two decades in London before moving to Trinidad, where he now lives and works.

Laura Owens came up from LA to turn the Wattis into a wallpaper showroom in which, it was said, ten paintings lived; though I never found one, she seemed to have conquered the somewhat cool and difficult space in a new way.

Images emerge alongside a long forgotten refrain from a childhood rhyme, «one for sorrow, two for joy...» waking more, the radio tunes to another news flash... reports of momentous and confusing times, thoughts grasped then lost as opposing forces pull back the tides... «three for a girl, four for a boy» work begins and life has other plans, they feed in, inevitably, «five for silver, six for gold» the paintings become respite and a place of healing «seven for a secret never to be told.»

Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s.

Taylor remarks, «When I'm painting from life the colours seem more alive and apparent because it's real — I mean, whatever real is... A human being is never in black and white, even if I'm colourblind.

Hong Kong China Nam June Paik — The Late Style Gagosian Gallery 17 September > 7 November 2015 Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s.

If I imagine different realities than the one I'm actually living, and make works from my imagination so I can tap into memories and history, as well as recreate time sequences that never actually happened in the painting, then I am a storyteller of what could have possibly happened in actual time and place.

Centered on the recent discovery of Untitled (Pastoral), a painting from 1947 that has never before been exhibited, «1947» includes paintings and drawings executed by the artist during the last year of his life.

Other contents include a contribution from Philadelphia's Headlong Dance Theater, which relates the process behind the company's highly regarded Cell piece from 2006; facsimile reproductions of 1960s letters from the artist James Lee Byars to MoMA curator Dorothy Miller (the second installment of the Modern Artifacts series, presented in collaboration with The Museum of Modern Art Archives); two more «Guarded Opinions» from guards at the Hammer Museum in Los Angeles — this time offering commentary on paintings by Degas and Gustave Moreau; an anonymous confessional piece about the life of a «decor artist»; a selection of never - before - published map sketches by Michigan artist Neil Greenberg; Angus Trumble's «2001 in Retrospect»; and a found object contributed by Stephen Weyl.

Although I admired the modern painting of Europe, I never came under the influence of any one artist or school -LSB-...] Recently I felt that most painting modern or conservative was terribly remote from conditions that were really, really affecting people's lives.

The artist Chaim Soutine's still life paintings of animals, what I prefer to call his carcass paintings, can be unsettling, especially given the fact that Soutine was known to have never worked from memory, but rather used live, or dead, models for all his works.

I rebuilt my life after that, and I started doing that series of landscape paintings — as always, working from observation and then memory, never from photographs.

«Never underestimate the power of paint and fabric,» says decorator Tim Lam of the caned barrel - back chairs he upgraded from garage sale finds to favourite pieces in the living room.

Apart from that I seem to like a bold colour here and there, and both bedrooms have a dark grey behind the beds, the bathroom walls are that same dark colour, and then, last year I chose a dark, bright blue for my living room walls with a blonde, nearly grey, paint finish on the wooden floors I have plenty of light in that little room, so it never feels dark, but at night it feels cozy.

If I had lived near you, I probably would have offered to buy it from you while it was sitting all lonely in your garage but I never would have thought to paint it blue.