Sentences with phrase «painted the image captured»

Not exact matches

An image of the light - painted room showing exactly where heat is leaking can then be captured using a webcam with an online app called Glowdoodle or just standard time - lapse photography.

Weissman - Unni, who enjoyed painting and drawing as hobbies, mostly helped on the complex microscopy involved in capturing the images.

The sky and the sea and the cluster of houses at the shore are presented in carefully composed tableaus, not unlike the images captured in Lewis's paintings.

Drawing with pen to create an animation, captured on iPad, and then activated within a painting using augmented reality to create an interactive, living image.

They can capture the pets» image on jewelry or in a painting — and there is always the option of taxidermy.

«I paint images of the people in my life with a focus on capturing a mood.

He could also try to capture an image in real time by painting a literal instant.

With «pattern paintings» intentionally resembling wallpaper, and paintings that capture the image of viewers on their surface, the work presents a playful challenge to notions of gallery space and what constitutes a painting.

His paintings are expressions of colors that breathe life into his bold images, his recent sculptures bear traces of his fingers that have shaped their forms, and his drawings capture the spontaneity of daily thoughts.

This work can be interpreted in the simplest, most direct manner — as a stereotyped image of China's food culture and painting traditions, but at the same time, its multiple references to various Chinese social and historical backgrounds make interpretation much more difficult: the use of objects to express morality in Chinese landscaping, satirical poetry mocking ostentatious refinement, and the imitation of handwritten menus to capture a scene of civil life... Viewers unfamiliar with the specific context can easily find themselves lost in the smokescreen of mysterious Oriental poetic calligraphy and bonsai art.

Image Caption: Artist Jamian Juliano - Villani at work in her studio, as captured in Art21's New York Close Up film «Jamian Juliano - Villani's Painting Compulsion.»

The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.

His paintings now include source photographs taken by various studio assistants and employees who travel internationally capturing images for possible use in the artist's paintings.

Similar to his multi-panel landscape paintings, these large - scale images of the Yosemite Valley are printed on four panels and solve the problem of capturing the vastness of Yosemite in a single image.

MG Do you think his use of film opened up different routes in his painting practice, beyond the capture of images?

Your painting synchronizes the struggle of the camera to adjust the shape of the image as it focuses in on something, the eye's struggle to adjust to it at the same time, and the brush's attempt to capture this movement through the LCD haze... a painting about the hazards of drunk - texting perhaps?

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Titled Self Portrait at the Age of 34, the painting captures the image of the artist in his middle age: affluent, self - confident and wise.

Influenced by history, cinema and popular culture, Spanish artist Ernesto Cánovas sources images from old and new media to produce evocative, semi-abstract paintings that capture a fleeting moment in time.

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

The painting captures the spirit of the English Renaissance and is one of the most famous images in British history.

The process of revealing images, concerns a rigid, obsessive practice as the painter applies layer upon layer of paint at the same time of day, capturing a specific quality which reflects the ongoing progression of nature: the seasons, the weather and the amount of light available.

He employed his painting as a means of exploring the way images that appear to capture truth turn out to be far from it.

Neel's work, is an assimilation of many different moments and moods, a distillation of many hours of scrutiny of the subject that concludes in a single summarising image where the impressions captured over time are related not simply through an image but through the material quality of paint, the flicks of the wrist and the movements of an arm, paint laid on hastily and contours outlined slowly.

With both filming and painting, it's not about capturing the image.

Although best known for his portraits and still lifes executed with oil paint, pastels, watercolor and ink, Sullivan is also a photographer who has been capturing images of life in New York, and of his own family and friends, since his teenage years.

By painting from images captured by renowned photographer Mark Berghash, Ozeri's black and white somber self - portraits portray a man vulnerable and introspective.

Presenting images that seem to have been shaken - spinning smaller frag - ments of seemingly cartoon mouths, teeth, eyes and silhouettes -, the paintings capture a cartoon whirlwind of parts and portions as they are about to come into existence.

From the painting a day people (like Julian Merrow Smith and Duiane Keiser)-- who just post an image and a link to where you can buy it (recently covered by articles in tne New York Times and USA Today respectively) to those who write about the process or the creative spark alongside the image — and those who capture episodes in images as well as words — such as in my second blog Travels with a Sketchbook in... (http://travelsketch.blogspot.com).

She uses photography EXTENSIVELY in her painting practice — some of her self - portraits even include the camera she is using to capture her image.

While the abstracts hint at elemental imagery, earth, wind, fire, and water, the newer Everglow paintings capture actual images of nature, woods, plants, animals in their natural environment.

She One can capture a image with a photograph in the same manner he can capture a moment in a painting.

While portraiture as an anchor, Eloyan intentionally employed a quick mode of painting with these works as a means of distancing himself from portrayal, instead using brushstrokes to capture a certain character and mood in each image.

Dadson captures images of his site - specific paintings made within the dimensions of the landscape and presents them as cross-media art forms.

Rennie paints urban images derived from construction scenes captured around London that resonate with more universal themes of growth, renewal and development.

After moving in 1992 to Cambria on California's Central Coast, he has confirmed this emphasis by painting images that capture the tranquil beauty of one of southern California's last unharmed places, the farms and ranges of the Salinas and San Joaquin valleys and the green hills of Cambria and San Simeon.

From painting, drawing, photogravure and video, «Fields Like Waves» captures the multiple performative dimensions of translating fluid reality into images.

They include: Portrait Photography, a genre that has largely replaced painted portraits; Pictorialism (fl.1885 - 1915) a type of camera art in which the photographer manipulates a regular photo in order to create an «artistic» image; Fashion Photography (1880 - present) a type of photography devoted to the promotion of clothing, shoes, perfume and other branded goods; Documentary Photography (1860 - present), a type of sharp - focus camerawork that captures a moment of reality, so as to present a message about what is happening in the world; and Street Photography (1900 - present), the art of capturing chance interactions of human activity in urban areas.

The dark brown canvas and the dark blue paint were basically the two colors in the painting, but they simultaneously projected a brillaint image and also collapsed into a kind of mud that couldn't be captured and separated by the eye.

Regardless of whether the piece is a self - portrait, or a painting of someone else, I am always drawn back to the unique moment when the image was initially captured.

Images from a polaroid camera capture a tableau of materials, echoing sculpture and painting and transforming preconceived notions.

Here, in tiny images painted right on metal flashing, we see fleeting glimpses captured in timeless poetry.

Alex is able to effectively use the medium of paint to capture a myriad of elements that the artist would rather not define as representing any image.

The artist states, «I find that, through the transformative act of painting, an image can be stilled and changed into something more archetypal: it ceases to be simply about the particular person or fleeting moment captured, and becomes instead something more public, permanent and aesthetically deliberate.»

Each painting captures the essence of the sitter and together the disembodied images become a compelling portrait of the local art community.

Barbara Takenaga has created a new work of an unprecedented scale for a 100 foot wall in the Hunter Center lobby at MASS MoCA.The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.

The painted image always captures some aspect of the original boxes by blowing up graphics or reworking numbers and phrases like «This way up.»

While she captures and reinterprets images from the history of painting and popular culture, the artist's concern with looking is really what is on view.

The artist creates fragile paper sculptures, which are then temporarily balanced and then photographed at the point of collapse, capturing the millisecond of the work's stability and enabling the viewer a sustained view of the ephemeral, resulting in colourful abstract images blurring the boundaries between painting and photography.