Sentences with phrase «painting these subjects so»

The goal in painting these subjects so intimately familiar to the artist is to provide the viewer with a tour of his hometown neighborhood — a place he refers to as occupying a «middle space», a uniquely American in - between of poverty and middle class.

Not exact matches

It was the great subject of his art: «My only ambition is to be able some day to paint a Christ so moving that those who see him will be converted.»

The subject is enhanced by Rouault's technique of laying thick patches of paint on his canvases, so that undercolors glow through to the surface.

Don't let the subject matter fool you, though: «Pan's Labyrinth» may resemble a children's fable, but the fantastical beasts within — including a giant toad, a pale monstrosity that eats little kids (and has the paintings to prove it), and the not - so - friendly titular faun — are the stuff of nightmares.

Daniel Barnz seeps into and out of the story like a fly on the wall, allowing us to take in his subject with all her scuzziness intact, not trying to paint a pretty picture so much as replicate the after effects of a fatal accident.

The results are so perfect that they truly capture the soul of the subject, creating a strange bond between painting and painted that transforms into an infernal secret.

It is difficult to imagine such an upscale vehicle being subject to paint - scratching brambles and gashing rocks — especially when many GXs will be leased, with penalties for damage upon return — so it is relevant to limit this tester to paved roads, to see how it stacks up in the daily grind.

I know the film industry takes flak for being romantically inclined to paint everyday life in nearly every subject they choose to characterize in motion picture,... but personally, one of the reasons I appreciate films so very much, is the brief escape of the woes that might greet you in life to parlay for a few moments into someone else's shoes and to learn about someone else's life if only for that brief period of time.

In the late 20th century, Ivan Albright (1897 — 1983) labored over his gnarled, knobby, time - battered, ultra-real riffs on Old Master paintings, so much so that his subjects appear as petrified substances, witchy and indelible.

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 painting comes first always, so I'd just like to keep finding subjects that enthuse me.

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.

As such, the gusto of More at Mrs. Gallery in Maspeth, Queens — a two - person show featuring paintings by Sarah Bedford and Tracy Miller — is at once daring and sweet, both a refreshing revitalization of the still life as subject matter, and a cheery antidote to the doldrums of so many other painting trends.

«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.»

Being an artist working alone in his studio, Bevan has repeatedly chosen to paint himself over the years; so to speak Bevan is his most faithful subject.

Pushing the paint surface, color and design so that the painting itself was the true subject; not just recording the details of a picturesque view.

Innerst would explore subject matter as subject matter in his work, producing oil paintings of landscapes, still lifes, cityscapes, historical scenes, interiors, et al., yet so deftly painted that his works were prized as much for their beauty as their conceptual rigor.

Rosenthal observes that Thiebaud's paintings are deceptively complex, as one begins to realize that his «evolution has not been a matter of one subject replacing the other, but a series of moves and returns so that each work is simply of a piece.

More importantly, it prompted her to reconsider how to depict black subjects in painting when their physical bodies seem so vulnerable within our current society.

While this is something that painting has always been aware of, he made it the actual subject of his work and has articulated it so clearly.

So this idea, of expression living in the gesture made in paint, could be equated to performance, to an «act» or «reaction» to subject.

For the last 15 years or more Trinidad has been the subject or starting point for so many of his paintings.

This subject matter — painted big and painted simple, or so they claimed — was as much about the human condition as any figurative self - portrait.

Painted in muted colors, Morandi's meditative compositions beautifully blend still life subject matter and interior space so as to almost dissolve one into the other.

Stand as close as possible (with your hands clasped behind you so the gallery guard doesn't start to panic you're going to touch the painting) and spend time studying the paint and brush marks, not the subject of the painting.

Employing his traditional painting and drawing talents, and pushing past their limitations, the artist fixes his subject matter so he can experiment within these restrictions to innovate.

Combining videotapes of these photo sessions with small portraits of their subjects is a bad idea; so is a wall of small, simpler Warholesque portraits titled «A-E-I-O-U and Sometimes Y.» Still, Ms. Thomas's conviction that the political is visual and every square inch of a painting's surface must count is inspiring.

Ray is highly influenced by the watercolours of John Yardley, loving his style, which is very bold, very impressive and liked the way that he seems to capture the atmosphere of his subjects so well without having to paint in all the details.

When it comes to representational art, the writer can discuss many interesting questions — the artist's choice of subject, handling of paint, drawing skills, composition and so forth.

Year by year, the images closely parallel the subjects of Richter's paintings, revealing the orderly but open - ended analysis that has been so central to his art.

It is not a show so much of portraits as it is in fact a collection of human stories, with each painting capturing in its subjects the essential data of their existence.

His two sons, as well as his wife Ada, are frequent subjects of his paintings; Ada can be found on over 250 canvases he created so far!

There's lots more to the subject of building a better painting, so stay tuned.

Thus while he painted individuals from photographs, Richter's replica images were often blurred and bore nothing distinctively identifiable about the subject, an effect that forced the viewer to consider the fundamental components of the painting itself, such as composition, color scheme, and so forth, rather than leaving the viewer to identify with, or be distracted by, a picture's implied content or its emotional element of «humanity.»

The passages of heavy impasto and deliberate mark - making continually remind us of the material substance of the paint, and in doing so bar us from entering into the subject or scene of the painting in a way that is echoed by the imagery itself: a closed gate, a drawn curtain, a screen of branches, a turgid wall of water crowding out the sky.

So it's good news that the Phillips Collection and the Hirshhorn Museum have pulled together a joint exhibition of the paintings of Markus Lüpertz, an important postwar German artist who has never been the subject of a major museum survey in the United States.

If Baselitz is known for one thing, it is for his decision in 1969 to flip his paintings upside down, so that his subjects appear inverted.

When I made the first «construction», I wanted to make objects that I could represent in paintings, so that they would be still - life subjects, but not be recognisable; so they would not always be referring to something autobiographical.

Installed in an adjacent gallery (one that's next door, so to speak) are paintings devoid of figures but filled with implied life through arresting architectural subjects by Daniel Pollera and Marco Martelli.

Subjects range from how Richter begins an abstract painting; why he chooses to paint his family so frequently; how he responded to claims that painting was dead; and why he decided to make a painting on the subject of 9/11.

«All turns on ego,» says Bluemner, and so «landscape painting is semi-self portraiture» — «semi» because the «ego» is not the only subject.

In Matisse's work you find precedent for so many of the types of subjects Diebenkorn painted, whether they're still lifes, women in chairs, or views out the window.»

So, paint your subject first and be sure you're pleased with it.

He combines acrylic paint and resin to create a 3D print that looks so real you'd be forgiven for thinking that the subjects might jump right out of the pictures and onto the floor.

Marion begins on a dark background and shows you how to build up your painting in layers so you get that right amount of mood and mystery whilst still staying true to your subject.

Cropping your subject as a camera does, and getting in close to it so that it becomes large and fills the canvas, emphasizes your subject and gives it visual weight, making it the focal point of your painting.

«Painting on site while facing your scenic subjects is so much more exciting,» she says.

Although inspirations for his painting come from the subjects themselves, Tad admires a number of contemporary realists such as Edward Hopper, Richard Estes, Ralph Goings, and John Register, as well as not - so - contemporary realists of the East and West, namely, Hiroshige, Hokusai, Canaletto, and Vermeer.

It is exemplified by the way Quaytman incorporates the reference: «Then there is the subject, always wanting to be in a perspectival space, which is what I had to think about so intently with the van Veen paintings that inspired the whole thing: how to include them in a painting made now?

It's hard to say how it came about that in late 1987 my interest revived and so I got hold of some more photographs and had the idea of painting the subject.