Sentences with phrase «painted these images long»

So I'm sure the great artist that have painted these images long after Jesus was gone, made him to look more like himself and their peers.

Not exact matches

Qualifying in Australia paints a stark image of Lewis Hamilton in a league of his own, but the chasing pack will be aware that his one lap advantage is much greater than any long run advantage.

The program tries to find shortcuts to store an image in the smallest number of bits — the more complex the piece, the longer the string of digits used to store the painting on the hard drive, offering a more objective measure that human judgement.

Boldly painted blue lids have always conjured up images of 80s divas and prepubescent girls experimenting with their mother's makeup, but this spring, the perennially unused shade is no longer reserved for tacky themed parties or those just discovering makeup.

i am sensitive, caring loyal and honest, I love animals, nature, creating art (whether it be through painting, drawing, jewelry - making, quilting or digital image manipulation) and long walks through the forest or along the beach.

Bugatti has released a one - off «Wei Long» Veyron for China, as well as releasing some new images of the Grand Sport Vitesse - painted to match the record - breaking Super Sport

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.

She then gives some tips on how to promote yourself on Fiverr (note again she does nt mention she does this herself) here is what she says:» I will turn your photo to painting art, it will look like it was painted by an artist, from image to painting for $ 5» Please note that this does not take long perhaps minutes.

While the deluge of instant images no longer possesses the power to shock, the slowness of painting enables Jones to ruminate on what he has witnessed.

Soon after the opening reception of his survey at Yale University's Edgewood Avenue Gallery, Malcolm Morley In A Nutshell: The Fine Art of Painting 1954 — 2012, curated by Robert Storr, Dean of the Yale School of Art, (January 31 — March 31, 2012), and Malcolm Morley: Another Way to Make An Image, Monotypes at Sue Scott Gallery (January 11 — February 19, 2012), publisher Phong Bui made a trip to Brookhaven Hamlet, Long Island, New York to visit the painter's home / studio, a former church he has shared with his wife Lida Morley since 1986.

I understand that Antonio Gramsci has passed away long ago, and so any attempt in painting an image of Gramsci would require an image of him from a sourced material.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

The works on view at Eleven Rivington have long since distanced themselves from this beginning, having appeared in an artist book, then haphazardly rearticulated through three - color process paintings (cyan, yellow, and magenta), scanned and digitally distributed on his and others tumblr pages, and presently re-photographed through a PDF generating application on his phone, the images from which provide the basis for this exhibition.

This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures of Otero's oeuvre to date, from his early still lifes and famous «skins» — paintings made of fragments and scraps of oil paint culled from previously painted images — to his more recent «transfers» and innovative sculptural work in porcelain and steel or iron.

The exhibition surveys the artist's decade - long examination of the aesthetics of emotion with a selection of mixed - media paintings and one moving - image work.

Long after Pop, long even after the New Image painters of the 1970s and 1980s, abstract art still has a way of standing for paintLong after Pop, long even after the New Image painters of the 1970s and 1980s, abstract art still has a way of standing for paintlong even after the New Image painters of the 1970s and 1980s, abstract art still has a way of standing for painting.

In shorthand, let's call her a late postmodernist, given her long and deep interest in worn - out images and other cultural leftovers — from children's book illustrations to print advertising to gift wrap — as the subject of her painting.

The intertwining of image and technique has long been a concern of Berkenblit, who has been showing in New York for thirty years, and is, with Dunham, one of a handful of painters, including Dana Schutz, Jason Fox, and Amy Sillman, equally concerned with the possibilities of expressive figuration and virtuosic paint - handling.

GLENN O'BRIEN — You've worked with a fairly consistent vocabulary for quite a long time now, combining images, attaching furniture to paintings.

25, 2016), this long - awaited volume includes images of more than 100 paintings — portraits, landscapes and interiors — from throughout Marshall's 35 - year career and essays by the artist, Elizabeth Alexander, and Helen Molesworth, among others.

At the end of the Cold War and the beginning of reunification, he created a series of paintings that feature stark, stenciled images of wooden turrets typical of the guard stations found in concentration camps or along the walls that separated east from west for so long.

Fine painting, long centuries had taught, resembled a mirror or a lens, devices that reverse an image.

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

The first and most prominent painting in the show, called The American, is a mock heroic image of a man in jacket and tie taking aim with a long rifle.

Rafael Ferrer's long and prolific career has garnered recognition from arenas as diffused as Surrealism, process art and New Image painting.

Dynamic images fragment into mosaics of small abstract paintings, in which there is no longer a distinction between background and foreground.

Doig's painting Echo Lake is a David Lynch - like image of the nocturnal menace of the great outdoors; Bourgeois drew all night because she had insomnia; while Blake, long before the surrealists, drew his dreams.

Leda Catunda (based in Sao Paulo) has long explored the use of colour in painting and sculpture, creating kitschy images that invite the public to deconstruct concepts as high and low culture.

The panel of judges ruled that 25 of Prince's 30 «Canal Zone» collage - paintings fairly sourced images from Cariou's book Yes, Rasta according to the legal doctrine of «fair use,» which allows artists to employ other creators» imagery as long as they «transform» it into something substantively new.

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!

Abstraction no longer maintained its status of «contemporary» in the face of a torrent of image painting in the early 1980s — the so - called European Zeitgeist and «neo-expressionism» that appeared internationally, almost simultaneously.

Dana Schutz's painting, Open Casket (2016), is an unsettling image that speaks to the long - standing violence that has been inflicted upon African Americans.

Actually, the spectral realities glimpsed in the 1962 — 64 silk - screen paintings feel less like images than afterimages — traces left in the eye or mind when the original source is no longer there.

Jasper Johns's ambivalent American paintings, equipoised between image and object, invention and preexistence, have long confounded art historians and critics — unsure of whether they stand for the United States and what sort of political orientation Johns imagined for them.

As for modern life, Mathew Cerletty's pellucid image of an edition of the Yellow Pages floating on swimming pool - blue water is incisive: It's a parable about obsolescence, a condition to which painting has yet to succumb and possibly never will as long as humans are around to do it.

The Long Rows (1966) is exemplary for how it synthesizes the gestural paint - handling of Abstract Expressionism with a tough and tender image of a woman hoeing her way through planted rows of cotton towards a receding horizon.

The digital image is projected as life size figures onto the canvas, in preparation for a long and meticulous painting process.

Quiñones has put an interesting twist on work that otherwise could be viewed as a footnote to the long career of photographer Aaron Siskind, whose curling paint images posited him well within abstract expressionism.

Another monochromatic painting, The Lioness (cover image, 2017), portrays a woman in a long dress wading in water that is receding from the shore.

Polke embarked upon a year - long apprenticeship in a stained - glass factory in Dusseldorf — an experience which was to influence his later work as, painting upon transparent plastic and laying image upon image like paint upon glass, he created multilayered pictures meant at once to be looked at and looked through.

His 86ft - long painting F - 111 (1964 — 65), in which a fighter - bomber jet is shown amid a jumble of everyday imagery, went on to become a defining image of the Vietnam War era.

After he paints and re-paints his images, Olivier photographs each stage of the process as stop - motion animation until an original no longer exists.

The presentation features the U.S. debut of an 80 - foot long painting by Rodney McMillian — created for the 12th Sharjah Biennial and which visitors experience as a tunnel — as well as an installation of tempera paintings and related photographic images by Doug Ashford, previously presented at Documenta 13.

Aside from symbolizing Britain's long tradition of horse racing and fox hunting, equine images are etched in the public imagination, from centuries - old hillside chalk carvings of horse figures to George Stubbs's paintings of noble mares and stallions.

We'd lost her not long before production began and I remember how satisfying it was for me to recreate her image - and character - in paint.

I use printed / digital images that I had collected time by time for the draft and make other relevant preparations, then I narrow down and decide the basic elements such as composition, and start to paint, which takes a much longer period.

Alongside the «Big Girl» paintings will be two paintings on Kabuki theater backdrops from 1987; a 16 square foot painting, E o OEN (1988), recalling the name of Andy Warhol's estate in Montauk, Long Island where Schnabel lived and worked and painted the painting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting, E o OEN (1988), recalling the name of Andy Warhol's estate in Montauk, Long Island where Schnabel lived and worked and painted the painting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's suPainting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's surrender.

After a long time of traditional basic training, I started to consider the question of why I still painted representational images, so I drew inspiration from the conutryside.

1995 25 Americans: Painting in the 90s, Milwaukee Art Museum, USA Selected Works from the Collection The Irish Museum of Modern Art, Dublin, Ireland Black & White & Read All Over, La Salle Lobby Gallery, Nationsbank Plaza, Charlotte, USA American Art Today: Night Paintings, The Art Museum, FL InternationalUniversity, Miami, USA The Artist's Camera, Photographs by Contemporary Artists, Thread Waxing Space, New York, USA From Impulse to Image, Virginia Museum of Fine Arts, Richmond, USA Fiftieth Anniversary Celebration for Human Rights, United Nations, Geneva, Switzerland Louvre, Paris, France, Commissioned for a special print edition Print Cabinet, Musee d'art Moderne, Geneva, Switzerland Philadelphia Museum of Art, PA Commissioned for a special print edition From Picasso to Woodrow: Suite of prints Long Vertical Falls, Tate Gallery, London, England

Images emerge alongside a long forgotten refrain from a childhood rhyme, «one for sorrow, two for joy...» waking more, the radio tunes to another news flash... reports of momentous and confusing times, thoughts grasped then lost as opposing forces pull back the tides... «three for a girl, four for a boy» work begins and life has other plans, they feed in, inevitably, «five for silver, six for gold» the paintings become respite and a place of healing «seven for a secret never to be told.»