Sentences with phrase «out of paint brushes»

Mitchell - Innes & Nash smells like hamster shavings, the quality of paintings made out of paint brushes at Paul Kasmin is debatable, and Zach Feuer's Nathalie Djurberg & Hans Berg ain't for kids.

Not exact matches

People who can't figure out which end of a paint brush to hold are acting as general contractors when rehabbing older places.

Had you have left Calvinism out of the picture, you would have had a point but not only have you painted all Calvinists with one brush (intentional or not) but you've also personally misrepresented James White by using him in your opening statements and connecting him to «shotgun hermeneutics».

I set out a selection of colours that could be mixed into rock sort of colours, so browns, black, white and different greens, and then provided 1 paint brush.

She gets as much out of observation as she does from doing things, so roll up your sleeves, cover your child's hands with your own, and guide them in brushing or gluing or painting if they don't see exactly what to do.

That's why I like to thin it out a bit with a few drops of water before sliding it onto my face with my fingers (painting it on with a brush just doesn't work).

How perfect would this be for all of my paint brushes out in my design studio?

And you have me wanting to break out a paint brush and paint the inside of my hutch right now.

(they actually screwed in and out of the bottom) And another tip... I wrap my brushes in plastic wrap or zip them up in a little baggy (like above) while I'm waiting to paint consecutive coats.

I let Ava paint the base coat of that metallic blue craft paint, and when she was done (only after biting a chunk out of it), I dry brushed some duck egg blue on top.

I read your instructions:» I let Ava paint the base coat of that metallic blue craft paint, and when she was done (only after biting a chunk out of it), I dry brushed some duck egg blue on top.

But seriously, I've painted with LOTS of brushes, and they are hands - down my favorites... no bristles coming out in your coat, and they leave such a smooth, durable finish.

The opening credits feature a baby's fingertip reaching out to touch the title of the film, just like the famous Sistine Chapel painting of God and Adam brushing fingertips (the image becomes even more confrontational when it's repeated, with Darwin touching the finger of an orangutan).

This week we take down the mob in Mafia 3, lurk in the shadows in Aragami Out of the Shadows, break out the paint brush in Paper Mario Color Splash, hit the ground running in World Rally Championship 6 and fight back the rat horde in Warhammer: End Times - VermintiOut of the Shadows, break out the paint brush in Paper Mario Color Splash, hit the ground running in World Rally Championship 6 and fight back the rat horde in Warhammer: End Times - Vermintiout the paint brush in Paper Mario Color Splash, hit the ground running in World Rally Championship 6 and fight back the rat horde in Warhammer: End Times - Vermintide!

Even in fine Christmas season films from the US, Santa Claus has been tarnished with a cynical brush that paints him as a rather desperate loser or out - and - out nutcase — Gene Hackman's undercover cop Santa in William Friedkin's The French Connection (1970); Dan Aykroyd's smashed Santa in John Landis» Trading Places (1983); and the one - two combination of cinema's worst shopping mall Santas, Jeff Gillen in Bob Clark's A Christmas Story (1983) and Billy Bob Thornton in Terry Zwigoff's bad - taste, big - heart classic Bad Santa (2003).

For example, if a boy is bored in school and «acts out» he's likely to be painted with the ADHD brush and drugged, while the real cause of his behavior goes unaddressed.

However, here is fair warning to all those out there trying to do their best to paint some people I respect a great deal with the brush of evil: Stop.

You have those that fire out a high rate of ink like a machine gun or a chain gun, others that are more about slower considered shots in the same manner as a rifle, while others are giant paint rollers and basic brushes and buckets of ink.

17 In mid-century France, as in 17th - century Holland, there was a tendency for artists to attempt to achieve some sort of security in a shaky market situation by specializing, by making a career out of a specific subject: animal painting was a very popular field, as the Whites point out, and Rosa Bonheur was no doubt its most accomplished and successful practitioner, followed in popularity only by the Barbizon painter Troyon (who at one time was so pressed for his paintings of cows that he hired another artist to brush in the backgrounds).

I must admit that I had great fun painting the tall ivy clad tree in the foreground, layering the various tones of green dry - brush, and then picking out the detail with opaque, dry - brushed lemon yellow.

There's so much to be knocked out by: Joan Semmel's photorealistic paintings of herself having sex seen from her point of view, Shigeko Kubota painting with a brush stuck to her crotch, Cosey Fanni Tutti posing in porn magazines, Eleanor Antin documenting herself on a diet, and Carolee Schneemann pulling a scroll from her vagina and reading it.

These paintings at first appear dense and out of focus but are full of rich color and lush brush strokes.

Throughout these demonstrations we are able to observe Scott mix with a sizable trowel, the paint he will need for each study, figuring out on the palette first the approximate colors of the light, stressing value, and how they change and relate to one another, so that he can paint faster once he starts only needing to quickly adjust his mixtures with additional touches of more color or white, using a brush, as each painting progresses.

Ikeda had no exposure to the world of fine arts but was interested nonetheless, teaching himself Oriental brush painting by copying pictures out of books and later becoming interested in Contemporary Art.

The tension between subject and content, the way the one reveals and conceals the other, is played out in the «Women» paintings (Woman as Landscape, 1965 - 66, pictured); the subject appears to be a woman composed of gestural brush marks, the content is ineffable and elusive.

Spatulas, palette knives, thinned out brushes, and bulbous daubers made from balled up fabric are just some of the items present, each serving a specific purpose for each painting.

Nestled in amongst the permanent Turner Collection in the Tate Britain's Clore gallery under the same roof as the Late Turner exhibition, Eliasson's clinical circular works might seem a tad out of place amongst so much history and the painterly brush strokes of cloud, water, landscape and light in Turner's paintings.

As an abstract expressionist born, raised and established in Southern California, Michael, who counted Mike Kelley among one of his grad school professors, uses super thick layers of acrylic paint on canvas and arms himself with plastic blades - never brushes - to create deep, saturated abstract pieces that are laborious, well - thought out and carefully composed.

«Out of material discovery I began to regard the primacy of the paint drop, a form that takes shape not from a brush or any human - made implement or gesture,» explains Chris.

One stand - out in this cluster of works is Birgit Megerle's Geometric Eye... [her] brush work is both deliberate and considered, the figure's cheek, neck and chest reveal underpaint but it is left alone just enough to rejoin the other parts of the painting - like a porous island that suddenly surfaced.

Jackie Saccoccio at 11R Jackie Saccoccio's double painting show of large dripped, brushed, slushed, and sluiced canvases of almost - undersea phosphorescent color showed how far out in front of the painterly curve this artist has been for more than a decade.

Whether painting in plein air, or working in the studio, I set out each day on a journey to bring the subtle contrast of light and dark onto my canvas through the use of oil paints with a mixture of brush and knife.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

The first volume of this slipcased set features Smith's abstract paintings; the second features his palette paintings — palettes on which the artist has squeezed out his brushes, pursuing a completely straightforward aesthetic of simple forms.

They have their coffee, talked for a while and Gorky explained that he had been painting and saw an image appear in the painting that was so frightening, he threw down his brushes and ran out of the studio.

That's how he embarked on a strain of pure painting that seemed quite radical at the time: working with a prestretched canvas and unmixed oil paints, and figuring out his composition as his brush moved across the canvas.

John was painting while lola, Spike & DoN luxuriated in Tim's studio filled with his exuberant stylized abstract paintings arrayed from floor to ceiling, paint splattered everywhere, outlines of canvases layered over years of work, brushes and paints poking out of cubbies — just like you imagine an artists» studio to be.

The paintings are colorful and deep, where subtle decisions about brush stroke order and thickness of paint are used to pull faces out of landscapes and make psysiognomies into hills and valleys and cliffs.

Rare to market is a 1968 largescale painting Farbschlieren; sinuous, wide - brushed and vibrantly colored, it is integral to Richter ‟ s development of his intuitive Abstrakte Bilders which would follow in the 1980 ‟ s. Rounding out the selection is a large Abstraktes Bild Violett (600 - 2) that was recently featured in the acclaimed Tate Modern retrospective, and two exquisite medium scale abstract paintings.

By appropriating different compositional angles, fleet brush strokes of wet paint on wet paint, and out - of - focus framing, Tuymans creates blurry and almost delusional images of faded memories.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

«The walls are patented with layers of paint, the windows don't quite match and the columns are literally worn down from people's hands and brushing past them,» Thompson pointed out.

The show was called Women at Work, and it consisted entirely of paintings of naked women doing routine country chores in the open air - hanging out the laundry, chopping wood, removing brush in a wheelbarrow or taking breaks from these workaday labors.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

Although he started out as a painter, Baldessari soon exchanged his brush for a camera, with the goal of eliminating the boundary between painting and photography.

But while plenty of musicians like to dabble in painting — Joni Mitchell and Tony Bennett among them — it's nothing compared to the number of visual artists who find themselves compelled to put down their brushes, pick up an instrument, and rock out.

If the government is going to pass the law they should implement this as an amendment to it, fairs fair paint everyone with the same brush not just single out a segment of the population.

«It is time to put down the broad brush used to paint BigLaw as inefficient and out of touch,» wrote Bill Henderson, in a commentary published on The Legal Whiteboard titled Ahead of the Curve: Three Big Innovators in BigLaw.

«It is time to put down the broad brush used to paint BigLaw as inefficient and out of touch,» he says.

It still paints over the whole interface with a heavy brush, but its changes aren't so far out of touch with the way modern apps and Google's guidelines look.