Sentences with phrase «often paints an image»

Doig often paints an image over and over, explaining that the subject contains something to which he is repeatedly drawn.

Not exact matches

FOR many wine drinkers, the word chianti conjures up images of red and white checked tablecloths, men (and often women) with an abundance of chest hair, and those squat, cane - wrapped bottles of brick - red wine more suited to stripping paint than accompanyi

HRT: I think the children's work was much more raw, what they depicted often very kind of... again the images of soldiers and dead bodies and destroyed houses... and it was children painting these images... The adults» were less emotionally charged.

Blessed and Beautiful: Picturing the Saints by Robert Kiely Yale, 288 pages, $ 40 What I discovered,» writes Robert Kiely in this sumptuously illustrated book on Italian Renaissance paintings of the saints, «were images often infused with tenderness, exquisite sentiment, erotic vigor, but....

Van Gogh's images often struggle with the stasis inherent in two - dimensional painting.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Grades: Pre-K-2 This is the Web site for the exhibit (January 28 - May 7, 2006) at the National Gallery of Art and includes images of more than thirty paintings and drawings by Paul Cezanne, often seen as the father of modern art.

Their houses are often shaped like eggs, with metal doors brightly painted with images of trilobites.

The creators of big budget films and television shows truly understand our love for images, often painting rich tapestries of lighting and make - up and camera angles and famous faces and explosions.

The other challenge is I compare myself to mainstream book cover designers, who often commission custom 3D graphics, paintings or do a photoshoot for unique cover images.

While images of St. Sebastian were often an excuse to paint the human figure, not all martyred Saints were this «elegant».

One feature that makes Cezanne paintings look «Cezanne - ish», is an overall warmth in the image; the blues are often delicate and purplish, with lots of browns and reds dominating the image.

These are often mixed together in what I want to be a spontaneous blend of images rich in cultural references, I hope held together by passages of pure painting and lyrical colour in a «new representationalism»

Brian Goodman briangoodmanphotography.com «I'm often asked if the images in my «Solace of Space» series are watercolors, or even oil paintings.

In an epoch when older painters tended to work for forty years exploring the same image, Wool blew willy - nilly through different images, often concurrently, challenging traditional notions about artist identity and branding and paint handling as well as the Modernist notion of progress.

Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos - provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany.

The images and motifs that feature in her paintings often are borrowed from old masterpieces, social media and absurd daily scenes.

A technical master, Wynne works in many media including glass, ceramic and painting, often incorporating reflective surfaces that distort the viewer's image.

In pursuing this direction of modern art, these artists wanted to present each painting as one unified, cohesive, monolithic image often within series» of related types.

In the imagery, Craven combines found images of antiquity with abstract hand - drawn patterns of ambiguous origin, and often subsequently painting walls to emphasize aesthetic choices that personalize his project.

The images in the paintings would often evoke a historical motif from modernist painting, such as Morris Louis, Kenneth Noland, Agnes Martin, etc., but the surfaces would change the presence of the motif to create a meaningful contradiction.

His rhythmic patterns of repeating images, often featuring symbols of contemporary folk culture, are hand painted and rendered through the visual language of printmaking.

(He often pours resin on a canvas and then paints images over it, or douses fabrics with lacquer before sketching patterns on top of them.)

Four years later, his father hanged himself; Guston discovered the body and subsequently sought solace by hiding in a cupboard lit by a naked bulb, the image of which would become a prevailing motif in the oddly disquieting, figurative, often autobiographical paintings he began to make in his fifties.

After many months and hours of sittings, where applied paint is typically scraped back and then reapplied, the final image will often then emerge within a matter of hours.

Her works are often created through the manipulation of the canvas: she pours paint directly on to the board, and, through movement, intuitively makes images.

He will pay particular attention to how this process played into the creation of his most recent project, A Trilogy of Burials, a series of abstract paintings, photographs, and multimedia images that are intended as a meditation on how different cultures have addressed mortality, a subject we often have a hard time discussing in Western society.

And his processes as a printmaker lie well outside conventional techniques: he rarely printed a plate the same way twice, often painted over his prints, cut down and repurposed his plates for other images, and experimented with grounds and unusual supports, including fabric.

Her images convey a sense of timelessness, as though they could depict scenes from a brothel in an abandoned mining town as readily as an artist's loft in Brooklyn, and often feature a thick, red X loosely painted over the composition.

Much of the meaning of Liu's painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed — but often concealed — in the photographic instant.

It is through these shifts and nuances of pace and touch that the paintings in Cinematic Visions address the slippery world of image making and image reading in the twenty - first century, where access can be instantaneous yet often at one remove and the screen dominates experience.

At a time when we are immersed in a cacophony of media images and sounds, and live in a climate of anxiety often provoked by invisible and abstract adversaries, the four fundamental expressive art forms — painting, sculpture, installation and performance — are amalgamated over the course of the exhibition, with contributions from Philippe Parreno, Adel Abdessemed, Roni Horn, David Hammons, Mark Grotjahn, Marlene Dumas and many more.

Copyright blends different styles from stencilled images to traditional painting, often juxtaposing monochrome figures with vividly coloured flowers and butterflies.

Her paintings and drawings, often devoted to depictions of the human form, are typically culled from a vast archive of images collected by the artist, including art historical materials, mass media sources, and personal snapshots of friends and family.

Over the last thirty years, Wool has explored many different methods for creating abstract images, often utilizing printmaking techniques in combination with painting.

Morley often finds his subject matter in different types of photographs (including pictures of old - master paintings, family portraits and images from travel brochures and calendars), which he transfers to the canvas using a grid system.

The artist's pointillist - like application of paint often evokes the illusion of night, creating atmospheric images that suggest the dark.

The paintings are figurative and large in scale and scope, with subjects often drawn from mythology and biblical images.

Expressionists like Edvard Munch sought to convey the grotesque and horror in everyday life, often with hyper - stylized brushwork and horrific images like his painting «The Scream.»

Imbued with wit and an economy of line, her images are often painted through the filter of her memory, using text to anchor recollections and facts.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

She often takes her paintings off the gallery wall so that her images become objects that surround the viewer.

Although Singer's works often begin with Internet image searches for general categories — for example, «performance art» in Happening (2014)-- and are more or less traditionally painted onto two - dimensional surfaces to create the illusion of space and depth, to call them paintings is largely a misnomer.

His paintings often combine formal compositional elements with distinct art - historical references and images appropriated from popular culture; they resist classification and thoroughly beguile the viewer.

In these paintings, images are often cropped and lack a specific point of spatial reference, such as a horizon line, thus inviting a contemplative experience and generating the feeling of immersion in Katz's open - ended pictorial space.

Acclaimed and often contested artist Eric Fischl is currently exhibiting a new series of eight large paintings titled Corrida in Ronda, featuring images of bullfighters engaging in the Corrida Goyesca.

Lambri's carefully composed and thought - out works evoke art - historical traditions of minimalism and abstract painting, and therefore, her images often display Modernist ideals of framing, abstraction, and transcendence.

Geva primarily uses bold gestures to propel and push paint over the surface of multilayered canvases, sometimes done in diptychs, which often include recognizable images like birds, tree branches, and flowers.

Clemente's paintings and prints are highly personal and subjective; he often creates his images from memory.

Guided by their formal qualities, notably a lattice of beiges, mauves, and vermillion, Melee collages, crops, rotates, and mounts the images, often attaching this territory to segments of track lighting or sculpted and painted fiberglass curtains.