Sentences with phrase «paint the image if»

Not exact matches

If he needs something to look at, there's a painting of his hero, Christopher Reeve, and a color - copied image of what looks like a photo taken by accident — all you can see is a ceiling, partially in shadow.

If color does not matter, why would caucasians paint a Jesus Christ in their image but deny his flesh and blood?

For purposes of brevity, let us simply take up the problem of medieval painting and sculpture, and ask if God - images here play a significant role, and, more particularly, ask if we can here discover a significant relation between God - images and Christ - images, a relation reflecting a uniquely Christian apprehension of the evolutionary movement and transformation of the divine process.

You can do the artwork yourself, or if you're not the artsy fartsy type, allow our artist Emily, to design and paint a beautiful image on your cast.

«If they were painting these images over and over, they had to have been significant,» she thought.

«It makes a kind of audiovisual effect: If you yell at the painted image, it will speak back to you,» he says.

I painted my image on, so I'm not sure if that made a difference?

If you're looking for some paint color ideas based upon the beautiful beach shells, there are lots of apps out there that will allow you to upload an image, and then provide some color inspiration.

If the iconic image of Romantic art is a storm - tossed boat, the cinematography here evokes the tranquility of a 17th - century Dutch painting.

Especially if you consider that unlike a painting or sculpture a film consists of moving images and, unlike theater, once it's finished, it does not change (unless it's the original Star Wars films after George Lucas has had his CGI way with them).

It's a reference that reveals Argento's self - consciousness — you could say pretentiousness (he'll do it again when Det. Gianna Brezzi introduces herself taking snapshots)-- and paints in no uncertain strokes the film's obsessions with paintings and graven images as catalysts for (if not replacements of, or phantoms of) memory.

If using paint make sure that the images are printed onto appropriately robust paper.

But if you take a look at the image, you will notice it comes painted in red, white and black as an homage to the early 1980s.

The 3 megapixel camera on the back is a little slower than we'd like to focus and to adjust the white balance (indoors we saw a yellow cast until the automatic adjustments kicked in) and with such a large image to paint on - screen, live preview can show a clear lag if you move the tab around.

Part of this is it's still been so long since I've painted, and part of it is that until I finally see it in one piece as a cover, with all the typography and everything, I won't really know if the image I have in mind will actually work as a cover or if it's too busy.

If you take the bus from Cusco to Puno, the first stop will be in the picturesque and cozy town of Andahuaylillas to visit the Sistine Chapel of America (named for its beautiful murals, paintings of the Cusco school, its beautiful images and its magnificent works in wood), then visit the Inca Temple of Raqchi dedicated to the god Inca Wiracocha, built in Inca imperial style (finely carved stones) and has pre Inca and Inca constructions that were used as religious, administrative and monitoring center in the ancient Inca empire.

If you give me an image of your work, whether it's a painting, sculpture, or performance, I'd love to display it here with full credit and a link back to your site.

I thought that Art Tutor didn't allow us to use digital images, and to be honest, I think that using something like this is not all that far from going digital... As far as Dragongirl's comment that she was sure Phil did not mean us to use this tool to make our paintings look better than they actually are in «real life», well, just look at his demo of how to use Pixlr and see how much better the cropped, colour enhanced, brightened, pictures look at the end compared with the «original» photos and it's obvious they are different (otherwise why go through the process if not to make a difference) AND they have more impact, i.e. are BETTER than before.

If someone wants to buy the rights of an digital image of one of my paintings to use on a website, how much should I charge?

At the nonprofit's auction, if it is a silent auction, show up with a laptop / tablet that has a slideshow with images of your artwork, work - in - progress images, your studio, you painting outdoors, anything that can grab interest.

But with «St. Sebastian,» a blank - slate approach was unexpectedly easy, primarily because, for all the image's familiarity, I realized how different the painting looked, or rather felt, in the flesh... It's the painting's endearingly strange comedy — especially the bottom half of the body, which seems to flap away (and bring to mind the flagellation of St. Bartholomew)-- that rescues it from post-adolescent self - pity and actually, in an odd way, ennobles it, as if invested with an amused stoicism.»

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

The exhibition, which will run through October 12th, features over 75 original paintings, bronze sculptures, embellished reproductions and collectible images from the legendary careers of Seuss (or Theodor Seuss Geisel, if you're on a real - name basis) and ten authorized Disney artists.

His paintings of black people aim to diversify the images we see in the museum:» If I go to the museum and see white bodies, black bodies, Asian bodies, Latino bodies, then I will expect to see those things every time I go.

If the artist is using geometry to construct a painting, like so many since the early 1960s, it feels more like doing math than if the artist shows a square as an image floating in a field, like a character in a graphic noveIf the artist is using geometry to construct a painting, like so many since the early 1960s, it feels more like doing math than if the artist shows a square as an image floating in a field, like a character in a graphic noveif the artist shows a square as an image floating in a field, like a character in a graphic novel.

That is if you found this book on Morandi's landscape paintings of having accurate and high quality images.

l: 2 Candles, 1982 - 96 state; r: Abstract Painting 837 - 4, 1996 -, images via gerhard-richter.com Which would be interesting enough if it were a one - off thing.

Suggestion, of course, being the only way one sees images in a painting, even if the painting is supposedly «realistic.»

Destroyed 1964 Richter painting, image from Gerhard Richter Archkiv via Spiegel I don't know if Joerg knew at the time he first tweeted about it — he is plugged in and German, so who knows?

It becomes even more ironic if you consider that Tuymans's work has always involved research into the reliability of images, and the difference between paintings and other types of images.

Since the infancy of cinema, when moviegoers would watch in disbelief as two - dimensional images leapt into life, painting and film have enjoyed a fruitful if sometimes fraught relationship.

Avoid the former show if you want to keep away from abject, base subject matter — McCarthy has made his career our exposing erotic, profane and damn dirty desires, and his new paintings push all boundaries of taste imaginable... I wonder what image our picture editor is going to choose for this page?

The 82 - year - old painter, who has lived most of his life in northern France near the Belgian border, has pursued his distinctive if somewhat conservative painting style for at least three decades, working for months and sometimes years on canvases whose paint surfaces are so obsessively thick that their images — mostly nudes, heads and still lifes — are virtually obliterated.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

If their imagery comes from sand and body painting and from ritual, and Australian Aborigines avoid naming or viewing images of the deceased, that suggests we are dealing with art that is both made for collecting institutions and flies in the face of their purpose.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

But if we look at Guston's abstractions done at about the same time as Carone's paintings in this exhibition, we see mark making and vestiges of mimetic images jostling for ascendancy.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

If someone says the word «painting,» what image do you picture in your head?

In his studio one day we were looking at a very black painting and Ad said: «It would not matter if the image were to completely disappear,» expressing a philosophy in tune with a statement in The Teaching of Buddha:

His images shimmered as if the paint were still wet.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

Most of the Lost Horizons images involve reproduction of ancient Chinese landscape paintings that the artist cuts and rearranges on expanses of heavy paper, as if splaying the surface of the earth for scientific intrusion.

It feels as if the artist has cast a net across the painting surface with the intent of capturing images.

As in LaRiviere's painting, images frequently appear flatter and shallower than those that are painted to appear as if they were observed in the real world.

But the question is if the work wants to relate more closely with painting or with writing, if it wants to be an image or a text.»

The act of painting functions as a means of introducing a layer of time to a given moment, it focuses the gaze and lends the objects and scenes an intensity that would be missing if the image was to remain as a photographic snapshot.

Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three - part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat).

The rest of Hibid's display, however, is less convincing: a series of pages of the Guardian newspaper in which areas are painted out to reveal what she appears to see as unconscious racism, specifically — in the way images of black people are used — feels rather dated, if not in its racial paranoia, then certainly in the way Hibid has chosen to express it.

I could literally collage the images on canvas and then paint on top, but if I have the collage made already, why not use it?