Sentences with phrase «paint in his later work»

The development of a conceptual approach to painting in his late work was a radical evolution in Tworkov's practice.

Not exact matches

The summer in our cottage by an inland lake in the North woods, where she painted, or worked, or later, lay prostrated by illness, but uncomplaining, while I wrote a substantial portion of the volume, is a precious memory time will not dim.

I have long been advocating for painting and repair work in my district and look forward to the MTA announcing contracts for work along this stretch of the line late this year.

The latest work paints a picture of LSD and some other hallucinogens as drugs that can decrease modularity and connectivity within brain networks while enhancing the brain's overall connectivity, explains Frederick Barrett, a cognitive neuroscientist at Johns Hopkins University who has studied hallucinogenic drug effects but was not involved in the research released this week.

However, his work was interrupted by the Korean War, for which he did two years service in Germany; his time there was mainly spent putting on Soldier Shows, which, as he would later remark, gave him his introduction to show business.While working on Venice, a 28 - minute documentary that juxtaposed contemporary views of the city with paintings by the masters, Ivory was introduced to art from India's golden age.

In our latest Crew Call podcast, Gassner describes the «brutality» philosophy of the future that both he and director Denis Villeneuve painted, how famed concept artist Syd Mead who worked on the original film was involved in the sequel, and how most of 2049 was shot with actual sets (despite that gorgeous birdeye's shot of the cliff - tall Atari signIn our latest Crew Call podcast, Gassner describes the «brutality» philosophy of the future that both he and director Denis Villeneuve painted, how famed concept artist Syd Mead who worked on the original film was involved in the sequel, and how most of 2049 was shot with actual sets (despite that gorgeous birdeye's shot of the cliff - tall Atari signin the sequel, and how most of 2049 was shot with actual sets (despite that gorgeous birdeye's shot of the cliff - tall Atari sign).

Little Kevin or Bridget get their work done early and pull out their copy of Captain Underpants just because they want to is every bit an example of independent as the kid in the Norman Rockwell painting who is sneaking a read by flashlight under the covers late (too late) at night.

Since 2008 doing approx 1000 miles per year, I put it through an mot on the 10th January, it passed without advisories;; The underneath is very solid indeed and doesn't need any work, the current paint was done approx 7 years ago to a good standard but is not perfect, when it had a change from Albert Blue (traces of it around the battery boxes) to the current black;; It still has the US import sticker on the left side door post, the original chassis plate and the chassis stamp on the bulkhead are all there;; It drives very well, I've driven it for circa 40 miles with no problems;; It has 15» Fuchs alloys and the spare is a chrome steel wheel;; The rear end has been «modernised» at some point, I personally would remove the rear Porsche reflector and fit an original panel and bumper stops to get it back to the original pre impact bumper look, I could do this for you if required, cost circa GBP 800;; The seats have been changed to 80's leather recaros and the door cards to a later style, again I'd put some period seats in and back date the door cards if required at cost price;; The 80's recaros are worth good money so shouldn't be too much further expense if they were sold separately;; Further information to come but please contact me if you have any queries;; In summary, a really good looking classic 911Targa, that is great value and can be enjoyed as is, or improved for not a lot of moneyin and back date the door cards if required at cost price;; The 80's recaros are worth good money so shouldn't be too much further expense if they were sold separately;; Further information to come but please contact me if you have any queries;; In summary, a really good looking classic 911Targa, that is great value and can be enjoyed as is, or improved for not a lot of moneyIn summary, a really good looking classic 911Targa, that is great value and can be enjoyed as is, or improved for not a lot of money;;

The beautiful new piano - finish paint process is applied to each new Continental GT by the craftsmen and women at the Bentley factory in Crewe, working alongside the very latest technology in robot paint systems to provide an unrivalled level of detail.

Matteo Bandello, a young monk who later became a famous writer of novellas, observed Leonardo «go early in the morning to work on the platform before The Last Supper; and there he would stay from sunrise till darkness, never laying down the brush, but continuing to paint without eating or drinking.

I thought the author did a great job of conveying her artist's eye in that way — and, in the «catalog» descriptions of what we later find out are Maud's paintings, we see that she has learned to bring this to her work.

Although the work lives in the landscape - full - of - eccentric - beings mode of painting, Gaiman — whose own latest master - stroke is the towering plethora of coverage he's able to bring to The Ocean at the End of the Lane — is refreshingly blunt in his assessment near the end of the article:

In my opinion the more recent works of the late Jake Berthot are high water marks for a balance between image and the reality a painting possesses.

Later, Condo was working in Haring's studio on the painting Dancing to Miles (which was on view at the New Museum's 2011 Condo retrospective) when Warhol was about to pay a visit.

In many of Cezanne's later paintings the under - drawing is a major feature of the work, and the painting is complete at what will be our stage three!

Jennifer Vranes (JensArt.com), an Oregon - based artist who specializes in large - scale landscape paintings that she calls «happy art» (with a laugh, she says she has been told that her work helps lower the blood pressure of its viewers) has found herself in a similar situation only once since she began painting commission work in the late 1990s.

Going back to how you [Gooding] describe the earlier work, there was in fact a self - conscious desire to block off or direct the viewer's process of looking at it or looking into it, and this later evolved into a later stage in which there was actually an invitation to «look in», but in which at all times the viewer was encouraged to be aware that the painting was made out of real things, real physical layers, rather than illusions.»

Juxtaposing scenes of violence around the world, politicians» statements, audience responses to Golub's paintings and shots of the artist at work, Late Works are the Catastrophes addresses the political issues at stake in the artist's oeuvre.

In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52in relation to Pollock's «Black Paintings» from the very same years (1951 — 52).

In later works like Les cosmogones, one encounters massive energies, unexpected colors, and great ancestral figures integrated into a surging blizzard of paint.

Opening at Mana Contemporary in Jersey City on Saturday, May 10 and continuing to August 1, 2014, the exhibition will present work from Resnick's entire six - decade career, including a rare 1937 portrait; quintessential Abstract Expressionist paintings from the 1940s and»50s; a selection of the large allover paintings of the 1960s through 1980s for which Resnick is best known; and a group of late figurative works.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

This show features the L.A. based artist latest works — roughly hewn and comprised of paintings, cardboard collages, fabric collages, tapestries, ceramics, a mobile, and sculptures in metal, urethane and fabric.

In practice, works from 1970 hang just down the hall from others painted up to 25 years later.

The work of these artists was brought into fresh focus and given renewed impetus by the revival of interest in figurative painting by a younger generation that took place in the late 1970s and the 1980s (see neo-expressionism and new spirit painting).

His latest works, inspired by the 17th century French painter Nicolas Poussin («I'm always in a dialogue with painting and its history,» he says), are on view at the Savannah College of Art Design Museum of Art, in Georgia, where W caught up with him.

In the review of Hanson's works on view at James Cohan Gallery, Schwabsky commented that «These paintings can sweep you up into powerful rhythmic waves of color; only later does it dawn on you that they are filled with darkness as much as with ecstasy.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

Curated by the celebrated US critic and author Hilton Als, Alice Neel, Uptown focuses on paintings made by the artist during the five decades in which she lived and worked in upper Manhattan, first in Spanish (East) Harlem, where she moved in 1938, and, later, the Upper West Side, where she lived from 1962 until her death in 1984.

The later works included paintings Neel made in the Upper West Side of Manhattan, where she lived and worked from 1962 until 1984.

Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized figures found in the paintings that Jan Müller was making around this time, or Bob Thompson just a little later.

Works by Royal Academicians Jennifer Durrant and Mali Morris are included in this survey of diverse paintings and sculptures, which spotlights the studio's critical contribution to late modernism in Britain.

In that period I was beginning to consider painting with oil and both Jensen's scraped, palette knifed surfaces and the surfaces of Hartley's late works, painterly and sculptural also, even when relatively thin, were both helpful mentors in my transition to this difficult rich mediuIn that period I was beginning to consider painting with oil and both Jensen's scraped, palette knifed surfaces and the surfaces of Hartley's late works, painterly and sculptural also, even when relatively thin, were both helpful mentors in my transition to this difficult rich mediuin my transition to this difficult rich medium.

And in the paintings on show here we see that with the passing of time a freedom with colour has also appeared; her later paintings are fresher, surer, the light dark colour contrasts of the earlier works replaced by full colour complements.

Organized by the Pennsylvania Academy of Fine Arts, this is the first in - depth museum look at the work of this lifelong Harlem resident with 90 paintings and works on paper from the early 1930s through the late 1970s.

When we met Manish Nai last month, his latest work — two paintings and six sculptures — made specially for the Galerie Mirchandani + Steinruecke booth at Art Basel in Hong Kong — was yet...

Spontaneity, chance, spilling, dripping and brushing became important working methods in the mid to late 1970s and Bowling began referring to his work as «poured paintings».

In 1948, he moved to Paris, where he met Jean Dubuffet, Alberto Giacometti, Hans Hartung, and the poet Henri Michaux — travelling widely to look at painting across Europe — and later visited and worked in New York, as well, where he became friends with Abstract Expressionist painters such as Franz Kline and Hans Hofmann and gained the support of important American dealers, collectors, and museumIn 1948, he moved to Paris, where he met Jean Dubuffet, Alberto Giacometti, Hans Hartung, and the poet Henri Michaux — travelling widely to look at painting across Europe — and later visited and worked in New York, as well, where he became friends with Abstract Expressionist painters such as Franz Kline and Hans Hofmann and gained the support of important American dealers, collectors, and museumin New York, as well, where he became friends with Abstract Expressionist painters such as Franz Kline and Hans Hofmann and gained the support of important American dealers, collectors, and museums.

Brant moved permanently to New York City in 1966 and her work was included several years later in the Whitney Museum of American Art's Painting Annual in 1972.

She has exhibited her paintings widely in both solo and group exhibitions since the late 1960's, and her work is represented in numerous public, corporate and private collections, including The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum, in NYC, The Dallas Museum of Art, TX, The Albright Knox Museum, Buffalo.

His new paintings, one sees the result of an accomplished hand at work for 45 years, the sobriety of an artist in his «late phase.»

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Just in time for her solo show, «New Paintings and Drawings,» opening this week, we headed to Freeman's studio in SoHo where we sat down with tea, scones, and her dog, Coco, to discuss her latest work.

Kenneth Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings.

Later figurative paintings, including the recent work Raft (2017), depict ordinary moments and activities — from reading in bed, attending casual dinners, to participating in faculty meetings.

Some think that the dark and somber paintings that he did late in his career, such as those for the Rothko Chapel, foreshadow his suicide, whereas others consider those works an opening up of the spirit and an invitation into greater spiritual awareness.

Unlike his figurative work, these paintings are larger in scale and made using a much different technique, utilizing a broom to paint and later flooding the surfaces with chlorine and water.

So does the judicious hang, in which a few key works from Stella's early days pop up in the later galleries; a 1962 painting of concentric rainbow squares hangs next to a colossal 2009 assemblage of fibreglass and steel.

By the late 1960s, as in works such as the frond - like Etude, 1969, Hantaï allows the primed, raw canvas to play a role equal to the painted sections, and is always at pains to keep illusionistic passages at bay.

This November, VMFA presents a groundbreaking exhibition that examines how Johns mined Munch's work in the late 1970s and early 1980s as he moved away from abstract painting towards a more open expression of love, sex, loss, and death.