Sentences with phrase «painting as a young woman»

Dodd's distinction as an artist remains today what it was when she began painting as a young woman in the 1940s, during the early days of America's post-war love affair with abstraction and later pop art and minimalism: She paints what she sees.

Not exact matches

Well, as a mom of two young men, as a daughter of a father, as the former wife of two men, as a friend to many men, and as the loving partner of a wonderful man, I can't understand why women would categorically paint all men as «bad» or «jerks.»

I am caring, well educated, charming good looking romantic sincere strictly a one man woman and young miss i love learning new cultures restaurants having fun together walks in the park traveling walks on the beach music aerobics as well i appreciate mountains evenings at home psychology clubs paint...

Deposit a strapping young man (Gregory Russell Cook), one of the few in the universe to have «excavated a woman's breast,» on Venus — a planet that is imagined as a Seurat painting full of Victorian females.

Throughout the novel, Hay moves back and forth through Elsie's years, giving the reader introspective looks into her life: from her days as a vibrant, adventurous young woman to her years mothering her twins, Elaine and Don; from the time she stepped out of her ordinary life to have her portrait painted to the present day, when she looks into her mirror at «the facility» and says to herself, «I have no idea who you are or why you're here.»

Once you were gone, we understood that these were the qualities that painted young men as smart and ambitious and young women as trouble.

Stolz paints a vivid picture of an all - female community and a young woman's coming - of - age in nineteenth - century Libya, in a story that follows 11 - year - old Malika as she questions the restrictions that she encounters as she approaches marriageable age.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

Rathbone has also curated a gallery with paintings of Aline Charigot, who was only 21 when she was portrayed as a delightful rosy cheeked young woman with a little dog in the foreground of Renoir's masterwork.

It is the charming vulnerability of the young woman artist, like that of the hesitating model, which is really the subject of Miss Osborne's painting, not the value of the young woman's work or her pride in it: the issue here is, as usual, sexual rather than serious.

«My paintings and drawings provide a view of how these events have affected my outlook on the United States, my attitude, and my modes of self - expression as a young Black woman living in Brooklyn, New York.»

The exception to the series is the last painting, a portrayal of intellectual and activist Susan Sontag as a young woman alongside a heavily blacked - out male figure, again symbolic of the contributions to contemporary culture made by a woman in a predominantly male - orientated world.

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.)

In MoMA, NY # 1 (2014), a young woman faces the same large abstract painting as the young man in MoMA, NY # 5, yet she is shown in a slight profile while taking a photograph of the painting from the side.

In this clip, for instance, you can see a young woman in a bikini presenting an abstract painting as if for an infomercial.

Here he adopted a more Mediterranean colour palette and, instead of his usual metropolitan sitters, he began painting local peasants and children such as Young Woman of the People 1918 (Los Angeles County Museum of Art) and Boy with a Blue Jacket 1919 (Indianapolis Museum of Art).

Carmen Neely's work — a combination of painting and found objects — is imbued with deep intention and awareness of her identity as a young black woman making art in the twenty - first century.

Her oil painting «Behind the Veil» intermingles the bodies of zebras and with a young woman, as if they were dancing with each other.

In the 90s, she commanded solo shows in galleries in New York, Santa Monica, London and Milan, and her paintings were included in group surveys such as My Little Pretty: Images of Girls by Contemporary Women Artists at the Museum of Contemporary Art Chicago in 1997 and Young Americans 2: New American Art at the Saatchi Gallery in London in 1998.

I was still too young to see that the earlier and magnificently frenetic and repellent paintings of women, which seemed excessively grotesque, like bashed dolls, were not really paintings of women so much as what happens to women: what men do to women and what women do to themselves in the hysteria of the pop performance world, fashion, eros and self - travesty, all plainly visible in Manhattan.

She was professor of painting at the Institut Saint - Luc in Brussels, and as an instructor, influenced a young generation of women artists, such as Ann Veronica Janssens and Joëlle Tuerlinckx.

Born in Brussels in 1930, Marthe Wéry was professor of painting at the Institut Saint - Luc in Brussels, and as an instructor, influenced a young generation of women artists, such as Ann Veronica Janssens and Joëlle Tuerlinckx.

[14] Gwen John's early paintings such as Portrait of Mrs. Atkinson, Young Woman with a Violin, and Interior with Figures are intimist works painted in a traditional style characterised by subdued colour and transparent glazes.

Kewley uses the collage as a reference to the language of painting; the works in this show are titled Odalisque (After Matisse), and Young Italian Woman with Distaff (After Corot).

The younger women painting big and powerful paintings have a bit of a wry smile as they turn to working on the scale of the New York School.

As the parade of high - profile guests rambled by, including a fascinating trio of young women from Bahrain, whose couture outshone even the tattooed presence of Ashley Bickerton relaxing on a streamlined sofa near one of his paintings, the gravitas of Joannou's annual event in Athens sunk in.

Over the past three decades, Judith Linhares has practically invented the genre of imaginative figurative painting largely populated by confident young women engaged in activities ranging from the banal to the idiosyncratic, thus paving the way for artists such as Amy Cutler, Hillary Harkness, and Dana Schutz.