Sentences with phrase «paint the image without»

«The direct austere design and color complexes,» he said, «paint the image without undue nuances — with clarity and mature independence.»

Not exact matches

He is without wrath, because we have made this image wrathless; his love is not holy love because we have painted the icon without holiness.

Rain Without Thunder: The Ideology of the Animal Rights Movement by Gary L. Francione Temple University Press, 366 pages, $ 59.95 cloth, $ 22.95 Anyone whose image of the animal rights movement is one of nasty - tempered radicals who bomb laboratories and spray paint on fur coats will be in for a....

best paint colors bedrooms benjamin moore to a bedroom feng shui good interior, best colours to paint a small bedroom good colors master bedrooms benjamin moore download color for home design, best color to paint walls with brown furniture good colors a small bedroom living room for relaxation, good colors to paint bedroom furniture what color a master and bath best home design colours benjamin moore, best color to paint walls with brown furniture good colors a small bedroom colour ideas images on palettes black, best colours to paint a small bedroom romantic colors two tone for bedrooms master good without windows, good bedrooms home design best colors to paint a teenage girls bedroom make it look bigger, good colors to paint a small bedroom best for sleep colours room interior design, good colors to paint a living room best bedroom for sleep bedrooms kids colours small, colors to paint a bedroom for relaxation best master blue color benjamin moore good.

In 1961, he made his first painting without any expressionism titled Look Mickey, based on an image he finds in one of his children's Little Golden Book series.

DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New Paintings by Charles Schultz LOIS DODD New Panel Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler

The three paintings that were on view during his show — Peekaboo, Prom Night (For Bigger Thomas), and Window Painting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livePainting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livepainting and the ways in which people live online.

One of Frecon's recent goals has been «to create paintings without boundaries,» a notion alluding to their visual expansiveness as well as to the conceptual framework - «an underlying rational order» - within which the images are seen to reside.

For Richter, that tactile thingyness of a painting stands in contrast to the ephemeral nature of the photo — particularly the way images appear online, weightless and without material form.

Enlarged and photoshopped, it has been stripped of its colours and put on the ground together with other materials causing the image to lose its original meaning and reminding us of abstract painting without actually being one.

Then, hopefully, the paint handling and image making are interesting enough to allow them to engage in contemplation of the work, without being heavy - handed about it.

The painting became not a flat image, but an object hung on a flat wall — emphasizing its material conditions without the slightest subjective gesture.

Without any knowledge about sculpture and drawing, I found myself using clay, wires, paint along with other materials, combining them in black and white images as final results.

Working without sketches or concepts, these images are come directly and undisturbed from his memory and heart, slowly building an image of a person he is painting.

With Picasso's Guernica, painting seemed to have reached the point at which no new images depicting violence and destruction could be created without the use of clichés.

While the Royal Academy's current abstract expressionism show reiterates that North American painting took the world by storm in an «age of anxiety», at the other end of the Strand, in a gutted carapace of a brutalist building, this blockbuster exhibits the creative versatility of moving image and sound in our post-Y2K age — a period not without anxieties of its own.

Opening: Jeanette Mundt at Off Vendome Fauvism - inspired landscapes, vaguely pornographic nudes, Paul Gauguin pictures, home interiors — Jeanette Mundt has painted it all, and it just about goes without saying that it's hard to pinpoint what interests the New York — based artist about all of these images.

Jess Fuller Born 1972, Portland, Maine, US Lives and works in Brooklyn, NY Education University of Iowa, Master of Fin e Arts, Painting, Iowa City, US Boston University, Bachelor of Fine Arts, Painting, Boston, US Solo Exhibitions 2017 Canada, New York, US 2015 Fairy Smoke, Herald St, London, UK Planet without a body, Martos Gallery, New York, US 2012 NADA Miami, Martos Gallery, Miami, US Jellie, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Washed up and bleached out, organized by Jens Peter Brask, Galleri Tom Christoffersen, Copenhagen, DK Group Exhibitions 2016 Fort Greene, curated by Adrianne Rubenstein, Venus, Los Angeles, US Re-Planetizer, curated by The Pit, Regina Rex, New York, US Inside Out, Berthold Pott Gallery, Cologne, DE 8 Femmes, Office Baroque, Brussels, BE 2015 BFA Boatas, Sao Paulo, BZ Call and Response, Gavin Brown?s Enterprise, New York, US I Can?t Wait to GetOff Work, Bannerette, New York, US 2013 The Fruit Loop, Soloway, New York, US Beach Painting Club, Paddle 8 Silent Auction, NY Limits of Desire, 7 Dunham, New York, US A la Carte, Minimal Art, Shoot The Lobster, New York, US 2012 Temperature, curated by Hillary Doyle and Reid Hitt, Projekt722, New York, US Made with Mustard, East Hampton Shed, East Hampton, US Slowed and Throwed, Chinatown Arcade, New York, US Bred and Fed, organized by Mary Grace Wright, Shoot The Lobster, Iowa City, US The Cat Show, Tomato House, Brooklyn, US Dallas Art Fair, Martos Gallery, New York, US New Traditionalists, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Text / Image, SOUTHFIRST, Brooklyn, US The Idea of the Thing..., organized by Rachel Uffner, Halsey McKay, East Hampton, US BNA: From Brooklyn to Nashville, ZieherSmith pop - up gallery, Nashville, US Tensile Strength, ZieherSmith, New York, US Monochrome, The Journal Gallery, Brooklyn, US Group Expo, The Armory Show, Canada Gallery, New York, US The Balloon, SOUTHFIRST, Brooklyn, US A PERSON OF COLOR: a mostly orange exhibition, organized by Jose Lerma, The Green Gallery, Milwaukee, US 2010 SALAD DAYS, The Journal Gallery, Brooklyn, US Material Issue and Other Matters, organized by Wallace Whitney and Michael Mahalchick, Canada Gallery, New York, US Selected Press 2015 Steer, Emily,?

I was fixated on everything being read clearly and hadn't realized a painting could be interesting without that clarified image of narrative articulated on the canvas.

Artist: Ernesto Burgos Exhibition title: Without Isolating Themes Venue: The Goma, Madrid, Spain Date: May 23 — July 11, 2015 Photography: images courtesy of the artist and The Goma, Madrid While in his first exhibition at The Goma a few years ago, Ernesto Burgos combined all kinds of elements to produce sculptures that also had room for painting, the US artist's recent work has fused these two disciplines into an inextricable whole.

[12] Fragmento Brasil (1977 - 2005), a synchronized multi-projection piece without sound, is made up of paired sequences of 648 images [13] from three sources: details from Albert Eckhout's mid-17th-century paintings of Brazilian birds set in idealized landscapes of European provenance; the abstract drawings of Yãnomãmi people from Venezuela and Brazil, 1978 — 80; and in conjunction, black & white landscape photographs of the Rio Caroni, Rio Uraricoera and Rio Branco regions in Venezuela and Brazil taken by the artist on a five - month walk in 1977.

The ghost - like figure in these two paintings emerges from the dark to stare at the viewer, showing as the artist noted «the mask of man, and at the same time reveal in the image of what man is like without the mask.»

The squares painted above the band contact their neighbors side by side without a barrier, and so it goes as the viewer's eye surveys the image plane from top to bottom or vice versa.

Lacing Action painting and Color Field painting with a postmodern twist, Zimmermann's abstract motifs seem to spring from more figurative representations: he uses computer graphics and «dithering» (a technique that displays images without firm edges so as to give a more colorful appearance) to deform images, texts and signs from his own massive archive of images, evoking the atlases of Gerhard Richter and Aby Warburg.

Contributed by Sharon Butler / Beat - up paper, runny ink, and crusty surfaces aren't so prevalent now that preliminary studies can be more efficiently made on the computer and final images crafted without getting one's hands too dirty or wasting paint.

About her process, Newman has said, «My paintings often take specific qualities of particular places as points of departure, but I try to approach the image without preconceived ideas and to discover forms through improvisation.»

Without room for revision, the paintings on paper are much more akin to the medium of drawing, and develop only through the artist's clear perception of the finished image.

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and MarfWithout Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfwithout a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

The collection of paintings, multi-media work, sculptures, installations, and video image adhere to this very idea without any reservation.

Spring Song # 6 by Liz Barber (Leventhal) mixed media on canvas 48» x 60» 2017 Inspired by the Abstract Expressionists and working without a preconceived image, Liz Barber paints int...

Sea Legs (2013) exemplifies this strategy of layering without mixing, acting as a record of the myriad brushstrokes and paint applications used to construct the image.

If Man With A Hoe (1860) by Jean - Francois Millet (1814 - 75) represents the ultimate 19th century image of a peasant broken by manual labour, Fahy's powerful series of recent paintings entitled The Sowers of Cyprus, continues the theme but without Millet's profound alienation.

NEW YORK «David Smith: A Centennial»; «Trade Taste and Transformation»; Dan Budnik; Jon Kessler; Marina Abramovic; Hans Haacke; «Dialogue: Lee Krasner and Jackson Pollock»; Bob Thompson; Catherine Sullivan; Moses Soyer; Walid Raad / The Atlas Group; Nobuyoshi Araki; «Monuments for the USA»; Michael Lazarus; Vernon Fisher; El Anatsui; «Happenstance»; Felix Schramm; «Painters Without Paintings & Paintings Without Painters»; Elsa Mora; «Imagined Worlds: Willful Invention and the Printed Image 1470 — 2005»; «The Eight»

Though the painting is completely abstract and one would never know it was a wedding image without the title, the whole picture has the frontal feel, proportions and contrasts of a portrait by Goya.

It paints the image of a savvy and modern lifestyle where you simply place your phone on a surface, not minding its position or orientation, and you leave it there, assured that it's charging without even double checking.