Sentences with phrase «painters painted subjects»

Not exact matches

First was «The Girl in the Pearl Earring,» where she played the assistant to legendary painter Johannes Vermeer and who would become the subject of one of his most famous paintings.

I think it depends on whether the painter is known because of other paintings, the subject of the painting, what the viewer sees in the painting, and whether or not the viewer would like to have the painting hanging on their wall to view day after day.

Instead of literature, this time Kostova's subject is painting — and painters who struggle to balance love and art.

Nicki Bernacchi is a great painter and while she paints all subjects, she loves to paint huskies and malamutes and provides an emotional connection.

More than just a metaphor, his subject begs a question we as painters should all ask ourselves: is there enough stuff washing into our own paintings, not simply stuff off the mind, but stuff moved by the much greater force of nature?

Edited by artist Brett Baker, Painters» Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.

They are a novel hybrid, painters» paintings that take the provisionality of seeing as their subject.

17 In mid-century France, as in 17th - century Holland, there was a tendency for artists to attempt to achieve some sort of security in a shaky market situation by specializing, by making a career out of a specific subject: animal painting was a very popular field, as the Whites point out, and Rosa Bonheur was no doubt its most accomplished and successful practitioner, followed in popularity only by the Barbizon painter Troyon (who at one time was so pressed for his paintings of cows that he hired another artist to brush in the backgrounds).

The Hamptons» own Lee Krasner demonstrates the expressive possibilities of the first medium in «The Umber Paintings, 1959 — 1962,» while «David Hockney: Works on Paper, 1961 — 2009» provides a close - up view of the world of the beloved British painter, who is currently the subject of a major exhibition at The Met.

The visually exciting paintings reflect the emotional and dramatic life of the painter, and therefore the subject, at various points in time.

His style is reminiscent of the later expressionist paintings by Bomberg, while his subject matter has been considered repetitive by some critics; a painter of portraits, nudes, building sites and urban landscapes, all depictions which he will return to again and again.

«He was a situational painter, documenting the world around him in vivid and highly detailed paintings that capture the distinctive personalities of his subjects.

The painter James Bishop is the unnamed subject of «Interlude III» in my article «Provisional Painting 2: To Rest Lightly on the Earth» (Art in America, February, 2012).

The selection was hardly comprehensive, but it was typical: the sitters all seemed as if they were well known to the painter, and she treated them at once as intimates, as vital human beings, and as great subjects — things as much as personas — to paint.

Indeed discussions of Reinhardt's bequest to sixties painting overwhelmingly focus on a single painter — i.e. Stella (the historiographic problem of taking Stella to be representative of the entirety of sixties painting is the subject of another essay).

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

Alvarado, Donegan, Hachisuka, Hiro, Hansen, Tuttle and Wurtz each offer discrete challenges to accepted subjects and approaches in modern painting: the nonreferentiality of abstract art, the relationships of artist to model and of artwork to viewer, and the conventional roles of the gestural painter.

«I'm an academic realist painter, but I'm living in the 21st century, so I'm not going to be painting Roman soldiers invading, or some gothic baroque composition... The highest aspiration of an academic realist painter are these big group figure paintings, and I'm using the hardcore scene as my subject.»

'' A painting must always move beyond its subject,» says British painter Michael Simpson, who sees the practice of painting as» giving form to an idea.»

It has very often seemed to me that many painters of religious subjects seem to forget that their pictures should be as much works of art as are other paintings with less holy subjects.

Poons was included in Emile de Antonio's 1972 documentary Painters Painting: The New York Art Scene 1940 - 1970 and he was the subject of Hollis Frampton's 1966 film, Manual of Arms.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

As a painter, Liu challenges the documentary authority of historical Chinese photographs by subjecting them to the more reflective process of painting.

John Yau offers a tribute to the late painter Michael Mazur, whose early paintings of apes in a zoo were recently exhibited in New York: «This is the kind of challenge that most artists, no matter what the medium, avoid: to confront and stroke difficult subject matter, to be open and sympathetic without trivializing or becoming sentimental.»

This is a painter qua painter, although she works in all kinds of mediums, but the way that she uses digital images as the subject for her hand paintings just slays me.

His fascination with technological methods for producing paintings is also evident in the 2001 television program Secret Knowledge, in which Hockney posited that the Old Master painters used camera obscura techniques to project images of their subjects onto their paintings» surfaces, leading to the photographic quality of Renaissance painting.

Yiadom - Boakye is one of the most renowned painters of her generation, her lush oil paintings embracing many of the conventions of historical European portraiture but expanding on that tradition by featuring purely fictional subjects.

It seems like African American painters are among the few who still use painting as a political platform... Even though it's abstraction, your work straightforwardly tackles very difficult subject matter: issues of race, economic disparity, AIDS.

By uniting the gesturality of de Kooning's paintings with the subject matter of those books, Prince presents the viewer with a strange, ambivalent new image that both emphasizes and punctures the sexual stereotypes of the raunchy nurse, as well as that of the macho Abstract Expressionist painter.

Although these painters started out painting in what was called an objective style, deploying abstract shapes in large space, they soon migrated to using the physical world and representative subjects to experiment with shape, color, texture and temperature in their painting.

Buffet's appetites were catholic, and although his exhibitions approached subjects as disparate as Jean d'Arc and casual beach scenes, his paintings consistently evinced a dark politic, as well as a deep reverence for art history, specifically the legacies of French history painters Eugène Delacroix and Antoine - Jean Gros.

WHERE»S THE BALL by Charlie Finch Now that the great painter Isca Greenfield - Sanders is officially represented by Haunch of Venison Gallery, she is unveiling a new series of irononostalgic paintings with the irrresistible subject of young boys playing soccer, aka «football.»

Hoptman notes that their experimental strategies and systematic distillation of painting practice eventually resulted in «abstraction's death by a thousand irrelevancies,» leading succeeding generations of painters to repudiate formalism and conclude that the age of content without subject matter was long gone.

Breton Women with Umbrellas is painting by Emile Bernard, French painter closely related to Syntethism, post-Impressionist current which unified two - dimensional flat patterns, artistic feelings for the subject as well as the appearance of natural forms...

As a painter, one natural subject is painting itself.

Sotheby's started the evening's other 38 lots with the 2012 painting «Drown,» by the young Nigerian - born figurative painter Njideka Akunyili Crosby, who earlier this year was the subject of a one - woman show at the Norton Museum of Art in West Palm Beach, Fla..

In these works, the Chicago - based painter takes as his subject matter words — to be specific, lines from the poetry of Blake, Dickinson, and (in the earlier painting) Gerard Manley Hopkins.

Interested in her relationship to the subjects of her paintings, Halvorson resists the term painter; she prefers to think of painting as recording time spent with an object in its environment.

Though primarily a portrait and figurative painter, she has recently been painting urban and architectural subjects.

Lüpertz has frequently claimed that his subjects are really just motifs, that he is essentially an abstract painter (a similar claim is made by Baselitz, who metaphorically empties his paintings of content by inverting them, like pouring water from a glass).

Lorser Feitelson, a painter born in 1898, became known for abstraction, but briefly explored mural painting of regionalist subjects.

[12] Now, whatever «tragic and timeless» subject matter the painters had in mind, I see no reason to think that drawing attention to the limits of painting was foremost in their minds.

Past recipients of the J. Paul Getty Medal have included Harold Williams and Nancy Englander, who were honored for their leadership in creating today's Getty; Lord Jacob Rothschild, for his leadership in the preservation of built cultural heritage; Frank Gehry, for transforming the built landscape with buildings such as the Walt Disney Concert Hall; Yo - Yo Ma, for his efforts to further understanding of the world's diverse cultures; Ellsworth Kelly, for paintings and sculptures of the highest quality and originality; Anselm Kiefer, painter and sculptor noted for his powerful work and complex subject matter; and Mario Vargas Llosa, Peruvian writer, politician, journalist, college professor and recipient of the 2010 Nobel Prize in Literature.

Featuring internationally recognized artists such as Pablo Picasso, Frida Kahlo, Andy Warhol, Ai Wei Wei, Jean - Michel Basquiat, Lyle's paintings unfold as such; recognizable subject, recognizable composition, laugh, debate narrative, repeat... The narrative, of course, as seen through the lens of a full - time painter and part - time «jack of all trades» who must take whatever job he can get in order to connect the dots and survive.

• At MoMA PS1 in Long Island City, Queens, the Irish sculptor and painter Cathy Wilkes is the subject of an exhibition that, Jason Farago wrote in his Times review, «unites uncanny cloth sculptures and scumbled paintings with large doses of junk.»

When asked about the subject matter of her luscious, fluid paintings, the American Color Field painter Helen Frankenthaler (1928 — 2011) once remarked, «If I am forced to associate, I think of my pictures as explosive landscapes, worlds, and distances held on a flat surface.»

Painter and printmaker George Condo will be the subject of an upcoming exhibition of new paintings at Simon Lee Gallery in London.

Figurative painting is cool again, according to Doron Langberg, a Queens - based painter who combines a mythical tie - dye painting style with human subjects in sometimes quite compromising positions.

The painter Hope Gangloff specializes in portraits with strong contour lines, jewel - like color and abundant decorative interest — works that have earned her frequent comparisons to Egon Schiele and Gustav Klimt (especially when her subject is a pale young woman with flowing locks and a striated dress, as in the painting above from her current show at Susan Inglett in Chelsea.)

Like a nineteenth - century landscape painter, he usually works en plein air, rendering one subject — say, a highway or some patch of Alpine countryside — over and over until, in the artist's words, «it exhausts itself» or he runs out of paint.