Sentences with phrase «painting in the flesh»

On writing about art, she told BookPage: «When I started going back to museums and seeing these paintings in the flesh, I was so overwhelmed by them.

During our visit to Milestone we were given the rare opportunity to see Andrea's original paintings in the flesh, allowing us to examine the exquisite detail applied to the isolated backgrounds and cars which you can see for yourself in the gallery below.

The only time I had seen any of his paintings in the flesh previously was in a one person show at the Serpentine Gallery in 1980.

I've never seen Hernández's paintings in the flesh, but I've heard a lot of good things about the Spanish artist mostly known for his large scale abstract painting and his interesting (and contrasting) use of colour.

Not exact matches

Mona Lisa is the result of the artist - scientist's studies of anatomy: da Vinci «peeled flesh off of the faces of cadavers, delineated the muscles that move the lips, and then painted the world's most memorable smile,» Isaacson writes in the opening of his new book.

If color does not matter, why would caucasians paint a Jesus Christ in their image but deny his flesh and blood?

Her flesh and blood self was undoubtedly more complicated and contradictory than the self she paints in her books, than the Madeline L'Engle I pieced together in my imagination — part her, part me, part longing.

About Blog In painting portrait tips Ben Lustenhouwerwill tell about my techniques, methods, and flesh colors.

Lucas is a major figure, and Revenge of the Sith may be some kind of historic achievement — the first movie in which it is fully impossible to tell where flesh ends and digital paint begins.

The Light Between Oceans paints Tom and Isabel's romance in elliptical glances — a seductive strategy, but also one that leaves them feeling less like fully fleshed human beings than objects as symbolic as that lighthouse, the broken piano in their seaside home, or a metal rattle that becomes integral to the plot.

Inspired by Yuzna's own nightmares and Salvador Dali's painting, The Great Masturbator, the melty puddles of flesh and goo is handled in a way only someone like Screaming Mad George could deliver.

Instead of the impeccable paint job of the Infiniti Q50 Eau Rouge show car unveiled in January at the 2014 Detroit auto show, this car wears a vinyl wrap of matte red, as if someone had flayed the concept car's shiny skin to expose the flesh beneath.

The two - tone paint doesn't look all that nice in digital but might work in flesh, you never know.

But it looks good on paper and now in the flesh, including the bold Electrico Arancione (Electric Orange) paint treatment shown on this vehicle on the Fiat stand.

Alma Martin once told my mother a story that Matisse had Madame Cézanne in mind when he painted his own wife... and she was beginning to think that if it was good enough for Matisse to strip Madame Cézanne into his wife's painting then maybe, just maybe, she would pose nude for Alma in order to help him flesh out his memory of his lost wife.

About Blog In painting portrait tips Ben Lustenhouwerwill tell about my techniques, methods, and flesh colors.

(In this regard, he is closer in spirit to an experimental, non-narrative poet than a conventional, narrative one)... Whereas de Kooning famously equated oil paint and flesh, Thiebaud seems to equate oil paint with nature — from impassive stone to ephemeral cloud, and from warm glowing light to portentous back lightinIn this regard, he is closer in spirit to an experimental, non-narrative poet than a conventional, narrative one)... Whereas de Kooning famously equated oil paint and flesh, Thiebaud seems to equate oil paint with nature — from impassive stone to ephemeral cloud, and from warm glowing light to portentous back lightinin spirit to an experimental, non-narrative poet than a conventional, narrative one)... Whereas de Kooning famously equated oil paint and flesh, Thiebaud seems to equate oil paint with nature — from impassive stone to ephemeral cloud, and from warm glowing light to portentous back lighting.

But with «St. Sebastian,» a blank - slate approach was unexpectedly easy, primarily because, for all the image's familiarity, I realized how different the painting looked, or rather felt, in the flesh... It's the painting's endearingly strange comedy — especially the bottom half of the body, which seems to flap away (and bring to mind the flagellation of St. Bartholomew)-- that rescues it from post-adolescent self - pity and actually, in an odd way, ennobles it, as if invested with an amused stoicism.»

Soutine's thickly painted canvases, which often harness the physical properties of his medium to depict carnage and meat, are currently on view at the Jewish Museum in New York, in a survey aptly titled «Flesh.»

In the paintings of the early 1970s, tangible rectangular forms recur against heavily textured backgrounds of creams, pale greens, flesh and earth tones.

It's fascinating to see these paintings in «the flesh» because you simultaneously take in the strong scaffolding structural design and architectonic, reductive form, explored with very fluid, sensitive brushwork.

Is there in each painting and construction a physical manifestation of thought: logic apprehended by the senses, not so much «word made flesh» as perhaps number made material?

It's a taboo that goes all the way back to Georgia O'Keefe, who gave up trying to beat down that door in the early 20th century when her radically abstract, viscous paintings were described as «great painful, ecstatic climaxes,» «an outpouring of sexual juices,» «loamy hungers of the flesh,» «the very essence of woman as Life Giver.»

I returned to New York City in June 1965 and made a series of simple and clear hard edge paintings that used symbolic color to represent the elements: yellow for sun, light and heat; sky - green for the void, daylight, and the answer; black for the night, the unknown and the question; and tan for flesh, being and the earth.

In Cecily Brown's Sweetly Reminiscent, Something Mother Used to Make, 2013, brush marks and body parts, paint and flesh, begin to dance in a contemporary bacchanaIn Cecily Brown's Sweetly Reminiscent, Something Mother Used to Make, 2013, brush marks and body parts, paint and flesh, begin to dance in a contemporary bacchanain a contemporary bacchanal.

Here and throughout the works in the exhibition, Currin captures the tones and textures of real life with acute sensitivity — using multiple layers of paint to evoke patterned fabrics, translucent flesh, or the lustre of porcelain or ripe fruit.

The flesh - like pink colour in this painting creates a rough form that recalls a crouching figure.

Increasingly she combined Pollock's epic battlefield with the flesh - like leaves of de Kooning's 1948 Painting — but in sepia rather than black enamel and white oil.

The picnicking figures are swallowed up in mid-chew, vanishing into jagged grey pigment like so much painted flesh, which is, of course, all that they are.

Francis Bacon and Lucian Freud are here to draw in the crowds, but also to set the tone of a Tate Britain exhibition that explores the equivalence of flesh and paint in depictions of the body that even at their most tender and sensual rarely stray...

While she is best known for her performances — from the Happening Meat Joy (1964) in which scantily clad dancers writhe around with raw flesh, to the infamous Interior Scroll (1975) in which she reads a manifesto extracted from her vagina — painting remained at the core of her practice.

Her work has been included in exhibitions worldwide including «Sensation: Young British Artists from the Saatchi Collection», Royal Academy of Arts, London (1997, traveled to Hamburger Bahnhof, Berlin and the Brooklyn Museum of Art, New York 1998 - 99); «The Nude In 20th Century Art», Kunsthalle Emden, Germany (2002, traveled to Arken Museum of Modern Art, Copenhagen in 2003); «Painting», Museo Correr, 50th Biennale di Venezia (2003); and «Paint Made Flesh», Frist Center for the Arts, Nashville (2009, traveled to the Philips Collections, Washington D.C. and Memorial Art Gallery, University of Rochester, Rochester, NY in 2010in exhibitions worldwide including «Sensation: Young British Artists from the Saatchi Collection», Royal Academy of Arts, London (1997, traveled to Hamburger Bahnhof, Berlin and the Brooklyn Museum of Art, New York 1998 - 99); «The Nude In 20th Century Art», Kunsthalle Emden, Germany (2002, traveled to Arken Museum of Modern Art, Copenhagen in 2003); «Painting», Museo Correr, 50th Biennale di Venezia (2003); and «Paint Made Flesh», Frist Center for the Arts, Nashville (2009, traveled to the Philips Collections, Washington D.C. and Memorial Art Gallery, University of Rochester, Rochester, NY in 2010In 20th Century Art», Kunsthalle Emden, Germany (2002, traveled to Arken Museum of Modern Art, Copenhagen in 2003); «Painting», Museo Correr, 50th Biennale di Venezia (2003); and «Paint Made Flesh», Frist Center for the Arts, Nashville (2009, traveled to the Philips Collections, Washington D.C. and Memorial Art Gallery, University of Rochester, Rochester, NY in 2010in 2003); «Painting», Museo Correr, 50th Biennale di Venezia (2003); and «Paint Made Flesh», Frist Center for the Arts, Nashville (2009, traveled to the Philips Collections, Washington D.C. and Memorial Art Gallery, University of Rochester, Rochester, NY in 2010in 2010).

The full or half - length figures appear in a state of deconstruction or deterioration appropriate to their origin in memory, their resurrection from the past: flesh morphs and melts, with faces obscured by a mask or veil of paint.

In trying to explain away the misogyny in de Kooning's many Women paintings, a wall plaque noted that de Kooning «likened paint to flesh.&raquIn trying to explain away the misogyny in de Kooning's many Women paintings, a wall plaque noted that de Kooning «likened paint to flesh.&raquin de Kooning's many Women paintings, a wall plaque noted that de Kooning «likened paint to flesh.»

The exhibition presents paintings created in Europe and the United States since the 1950s in which a wide range of painterly effects suggest the carnal properties and cultural significance of human flesh and skin.

So many paintings you wont see in the flesh again in London for a very long time.

Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)

Rather than mere depictions of the female form, the artist saw his paintings as energized marks of the «moment states of the flesh,» seeing in them a direct connection with his other great passion, judo.

The paintings she made in 1960 don't look anything like that: They're like de Koonings and Giacomettis with their flesh dripping, and their eyes gouged out.

The beefy pink flesh of dangerous buffoons in white hoods, waving clubs and fat cigars as they cruise about in a pathetic black jalopy, is set against a sky of smoggy blue and rose leavened with the dark flecks of an earlier, painted - over composition — an imperfect foundation as flawed and dynamic as America itself.

Zeng lived next to the hospital and would recall in his early paintings, scenes of doctors and fearful patients in emergency rooms, and the proximity between humans and flesh to underscore human frailty.

The thrill of a Mark Tobey tempera painting can only be experienced in the flesh — no reproduced image can convey it.

The de Kooning — a vortex of flesh - toned brushstrokes and irregular shapes accentuated with bubble - gum pink and sky blue — was painted in 1975, the beginning of a two - year stretch considered among the most accomplished in the Abstract Expressionist artist's life.

This will be a rare opportunity to enjoy these paintings — which for their tactility, materiality and three - dimensionality must be seen «in the flesh» — in the UK.

The Guggenheim retrospective is titled «The Trauma of Painting»: to those seeking literal trauma Burri is, to use another of Sweeney's phrases, «St Januarius of the Collage», whose discarded materials become flesh and blood in the presence of the living; to those looking for a more figurative trauma, he deconstructs the flatness and purity of modernist pPainting»: to those seeking literal trauma Burri is, to use another of Sweeney's phrases, «St Januarius of the Collage», whose discarded materials become flesh and blood in the presence of the living; to those looking for a more figurative trauma, he deconstructs the flatness and purity of modernist paintingpainting.

In the new work, Street covers the canvases with the paint - streaked hosiery fabric, like flesh over bone.

Up close and personal, leaning away from the viewer but her deep blue eyes directly confronting us, Branded is an uncompromising self - portrait by Jenny Saville in which thickly - impastoed paint becomes flesh spread across the canvas for us all to see.

In these paintings, Mr. Hockney's awkward figurative style fleshes out toward naturalism, impudently balancing between art and illustration.

These paintings each depict a muscular shackled male figure in the throes of torture, their strained flesh lit up against surrounding darkness.

While other painters of his generation stripped their paintings down in their later years, Guston fleshed his out.