Sentences with phrase «painted subjects back»

Whether you paint the archival photo, crop marks and background and all, in a meta - Richterian gesture, or just try your darnedest to bring their destroyed, painted subjects back to life, I'll have to figure out.

Not exact matches

The level of detail, the characterization, and subject matter of his paintings and etchings keep me coming back again and again to find something new.

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A Piece of The World tells the back story of the subject of artist Andrew Wyeth's most famous painting, Christina's World - Christina Olson of rural Cushing, Maine, a severely crippled woman who still leads a brave, productive life.

She finally decided to go back to basics and using the photograph as inspiration painted the subject.

According to Catherine Lampert, Auerbach's model of over 35 years: «It wasn't that he intended to document something about post-war London or paint dark pictures, it was that he didn't feel he could turn his back on that raw subject matter.»

But subject matter came back in a really strong way with the Pop thing, and when subject matter came back, it seemed opposed to the idea of a more abstract or, say, mystical painting, and against the idea that other things were coming out of a painting rather than real imagistic pieces of information.

It was a conscious effort to find his own new approach to painting: «Since I had just come back from Canada and was again searching for a subject, I started making these quite homely paintings, paintings of quite modest subjects».

In his trademark cartoon paintings begun in 1961, Lichtenstein enlarged and edited the single frame of a comic strip, either romance or action subjects, including the talk balloon, the simplified back outlines, and the dots used for printing color.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

The artist often appears as the subject of her paintings, depicted with her back turned to the viewer, looking away or in partial view, amidst large family gatherings, in quiet contemplation, or in private moments with her husband.

Subject - matter crept back in a dominant way, perhaps a regressive return in Greenberg's eyes but one that redoubled emphases on manifesting the physical aspects of painting.

Picasso paints women as angry and sad, lovers and whores, the subject of his gaze and staring right back, the projection of his impulses and an art that dissolves personality into masks.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

Compressed into the timeless ambience in which the 2013 Turner Prize nominee's subjects alternately pose, pirouette and turn their backs on us is a profound understanding of the restrained colour that characterises the paintings of Edgar Degas, Édouard Manet and Walter Sickert RA — artists whose disposition Yiadom - Boakye's palette echoes.

The paintings, which are slightly larger than life - size, depict the back side of subjects» heads, hooded in coats made of synthetic materials but rendered similar to the fabrics found in Renaissance and Flemish 17th century portraiture.

Thus an almost entirely abstract painting like Stil (Style)(1977) hangs adjacent to one of Lüpertz's reworkings of a classical subject, Satyr + Nymphe II (Satyr + Nymph II)(2014); and one of his many portrayals of the human back, Nacht (Night)(2013) hangs next to a painterly treatment of building materials, Holzschindeln — dithyrambisch (Wood Shingles — Dithyrambic)(1966).

Then he cudgels you with the uncanny power and presence of his 1966 Portrait of Isabel Rawsthorne, a painting that somehow reveals its subject's beauty by tearing her face to shreds and reassembling it like a drunk putting a broken ornament back together.

Alejandra Atarés paints portraits where her subjects» backs are turned, using the background to reference aspects of her sitters» lives.

At the same time, rather than «muscl [ing] painting back into three dimensions» while underscoring it as a purely visual experience, where forms such as Held's geometries could deny gravity, Plimack - Mangold made paintings that alluded to the viewer's presence, as well as recognized the tension between the painting's surface and the subject's depth.

The subjects of her paintings often stare back at the audience and study them as they are in turn studied.

Robert Janitz will offer a group of reverse portraits, paintings that depict not the faces of their subjects, but rather the backs of their heads.

Bright colors and two dimensional surfaces with three - dimensional effects elevate the paintings» subjects to characters while the open backs reveal Faiers» heightened interest in engineering and construction in addition to painting.

His choice of commercial packaging as subject or format has a considerable history behind it, stretching back beyond Andy Warhol to Stuart Davis and American trompe - l'oeil painting.

However, this idea goes back even further to Matisse's «Portrait of Madam Matisse,» shocking for the crude green stripe painted down the subjects face, obviously a product of more innocent times.

It is this evocative quality, as well as its poignant subject matter and rich palette, which make Peter's Series: Back a charming rarity in British contemporary painting.

He employs the perspectival foreshortening and sfumato tonal shading techniques of realism that date back to the Renaissance, in addition to using the barren landscape backgrounds of Surrealism, the absurd object mash - ups of dada, the accessible furniture design art of Wiener Werkstätte and the Bauhaus, and the dramatically rendered subjects of neo-expressionist painting of the 1980s, among which his work was first shown and associated.

In his most recent paintings Bracey strips the subject of his work back to the history of the discipline.

Looking back on the trajectory of these solo shows, I can see that my approach to the subject matter and painting changed over time.

The painting, whose reclining figure «has a sensuous, alluring posture, looks back at the classical traditions of the nude in a very different way» than in the treatment of similar subjects by other artists.

But American views on the subject have also been manipulated by a campaign by energy producers — mainly the Koch brothers (who back the Tea Party) and the American Petroleum Institute — to paint climate change as an invention of anti-growth liberal tree - huggers.

Like how you did the painting on backing and frame, the rustic look goes with the subject matter.