Sentences with phrase «painting subjects from»

He frequently paints his subjects from life.

Sorensen paints subjects from his immediate environment: his children and wife, his flowers and plants, the moon in the night sky.

Not exact matches

Schama's analyses of Rembrandt's paintings of biblical subjects (as well as of Rubens's commissions from Oratorians, Jesuits and other Catholic factions) reflect a sound knowledge of the visual and doctrinal traditions that shaped them.

PPG Paints Arena does have a policy for fans throwing objects on the ice that states «guests not abiding by this Fan Courtesy Policy are subject to ejection from PPG Paints Arena and in some cases subject to criminal prosecution.»

The large, bright space is filled with the kind of original artwork the couple love, including bronze sculptures and paintings that range from watercolors of delicate flowers to large paintings with a rugged, western subject matter.

About Blog Landscapes painted in oils and acrylics painted en plein air and in studio from studies and interior subject matter by Caroline Goldsmith.

What did work and showed the potential the film had if it could get away from the conventional treatment of its subject, was the extraneous artistic shots of Frida's paintings brought to life in a surreal manner ala MTV filming techniques.

As directors Rybicky and Wickendon unravel Peter Anton's past, they allow themselves to become vulnerable to the audience as well, thus painting a complex portrait of the relationship between filmmaker and subject, art and life, and the joy of coming up from being down.»

Taking on the considerable task of directing, writing and starring in his film, Everett lavishes great care on a subject he clearly holds in high esteem, and to his credit, does not shy away from painting a less - than - glamorous portrait of an aging Wilde, syphilitic and lecherous as he lives out his exile in Europe following his scandalous imprisonment for gross indecency.

The loveliest dimension of Mr Turner is the sensibility of colour and light it carries across from the paintings of its subject, the English Romanticist landscape artist JMW Turner.

In his quotes Munch described how these early life experiences from his youth has influenced his painting and print art very strongly; the became an enduring subject of his art.

But a visit from a dangerous stranger, who looks uncannily like a subject in one of Derek's older paintings, leads the young artist to a place where the line between life and art seems not to exist at all.

Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She can not shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below.

The standard depiction of the subject, from the catacomb paintings in the fifth and sixth century through more recent works by Taddeo Gaddi (c. 1350), Andrea del Castagno (c. 1447), Domenico Ghirlandaio (c. 1480), and Pietro Perugino (c. 1493) had emphasized the story of the Eucharist.

The results resemble abstract expressionist paintings and Platonic idealist visions of subjects ranging from night skies to reflective glass objects to the rooftops of Manhattan.

But the reaction from AG and its members who commented on the open letter paint the Alliance as a group of thugs out to make all authors» works subject to rip off.

Suffolk, England About Blog Roy work exclusively in oils, painting from life by the direct observation of my subject.

About Blog Landscapes painted in oils and acrylics painted en plein air and in studio from studies and interior subject matter by Caroline Goldsmith.

PT: In his catalogue essay for Yearning Upwards, Neil Plotkin makes a case that painting a tree is akin to riffing on a jazz standard in that the «standard offers the opportunity to consider a familiar subject from a different point of view.»

But since I've began painting from my personal experiences and applying this love I've built for my subjects to the canvas, the response has been amazing.

Taipei - based artist Shih Yung - Chun paints scenes from everyday life, taking inspiration from hundreds of photographs, but there's an element of the bizarre in all his crafted narratives — his subjects always seem to occupy themselves with strange activities.

Bonnard's paintings are almost always of a particular visual experience, of which he made a drawing at the time, but which he painted in the studio, away from the distractions of the subject.

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.

I followed this one up with the post on «The benefits of a series» and at the end of it all I have cemented a loose concept into a formal plan that will give me a range of five different subjects to work on, as well as use drawings and paintings from each of these «portfolios» to contribute to a central series theme.

This important, nearly unknown piece of writing, titled Subject Matter of the Artist: An Analysis of Contemporary Subject Matter in Painting as Derived from Interviews with those Artists Referred to as the Intrasubjectivists, is the centerpiece of this new collection.

Bonnard's habit of drawing all the time, together with his practice of painting from memory rekindled by drawings made on the spot, allowed him to paint subjects of a more transitory nature than had anyone else.

Shown alongside sketches, drawings and studies, her paintings recast female subjects from art historical paintings, photographs and the media into new environments, imbuing them with a newfound sense of self - possession.

Each painting is rendered with a reverent rich orange hue, and his subjects emanate from the canvas with glittered hair and haloed outlines.

Drawing from the art - historical lineage of cubism, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities which define the perils of human evolution.

Various examples of the series, which, as a subject the artist describes he did not choose, «but he came to know» derived from a series of paintings inspired by the theme of Odyssey.

The painting also departs from traditional portraits by capturing a momentary and involuntary pose that a subject would not have been able to hold long enough to have it documented.

Examples from Rythm Master were featured in light - box displays in «Mastry,» the artist's retrospective (2015 - 2017); the series inspired «Above the Line,» a hand - painted mural installed along the High Line, the elevated park in New York City (2015 - 2016); and was the subject of an academic paper by art historian and curator Ellen Tani, delivered in 2016 at the Black Portraiture [s] III conference in Johannesburg.

The 70 works featured in the show range from painting to woven installations to video projections, and span subjects as large as celestial bodies to as tiny as the flower of a bush plum.

Over the last decade there have been a very few exhibitions that have attempted to explore this history from a New York perspective («High Times Hard Times: New York Painting 1967 - 1975» in 2007, «Conceptual Abstraction» in 2012, my own «Reinventing Abstraction» in 2013), and if there have been any books on the subject, I haven't yet seen them.

With influences and interests ranging from astrophysics to sports — missing matter and Muhammad Ali are equally compelling as eponymous subjects of recent paintings — Whitten is a gregarious conversationalist.

The first section, for instance, is dedicated to the «portrait without a person» — exemplified by Marsden Hartley's Painting, Number 5, memorializing a German soldier and love of the artist with an array of personal ephemera (epaulets from the subject's uniform and a chessboard, in homage to his favorite pastime, among other objects and symbols).

In various public talks that I have heard Murphy give over the years — most recently, on March 12th, 2013, at the New York Studio School, in conversation with Roger White — she has said that some of her paintings come from dreams, and that she discovers her subjects.

De Miguel's Boy Leading a Horse draws direct inspiration from Picasso's painting of the same name, while Adam Expelled from Paradise is borrowed from the common subject matter of Renaissance masters.

From pot plants to sail boats, the artist paints ordinary still life subjects and sun - soaked landscapes but in a way that makes them current, gliding the brush across the canvas, one line at a time.

Like Albers, at first glance your paintings look very systematized, especially from a distance, but as you get closer there's a density and physicality to the paint that makes the color both the subject and the object in a very visceral way.

Murakami employs his «Superflat» style in his dragon paintings which is a combination of a highly refined classical Japanese painting technique and a wide range of subject matter from Pop, animé and otaku.

The subject matter is a departure from her last exhibitions, which featured expanded images of junk food, painted with exuberant... read more... «Jennifer Coates: Lullabies for difficult times»

The term history painting was introduced in the seventeenth century to describe paintings with subject matter drawn from classical history...

In color field painting «color is freed from objective context and becomes the subject in itself.»

Keltie Ferris's paintings are inspired by subjects that range from the broken up pixelation of digital images, rubbed out graffiti on New York streets to the glimmering city lights that are visible from her Brooklyn studio at night.

Laid out according to subject rather than chronology, the effect is that of a forensic case study, tracing a path from the everyday objects she called her «models» to her «portraits» — incisive studies she made across media — to her paintings, where the original subject is less abstracted than obscured by the history of her experimentation and transformations.»

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reaPainting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reapainting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

Hartley's paintings from this period reflect dynamic shifts in style and subject matter, and evidence a critical moment in his body of work.

The colour fields are inextricably linked to her black and white canvases, the subjects of the latter — sparingly painted so as to retain the appearance of the canvas weave — resulting from internet searches that occur to her whilst working on the abstracts.

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.