Sentences with phrase «paints animal figures»

DALeast paints animal figures in his signature style using a swirling vortex of organic black lines with white highlights.

Not exact matches

Her destination is Delicado Shelter, one of some 300 shallow caves in the region known for paintings of human figures, deer, canines, felines, birds, rabbits, snakes, and other desert animals.

This painting shows six humanlike figures and two bristly animals of no known species, one led by a thong attached to its nose, the other being approached by two men with spears.

The standing remains revealed walls that had once been painted with rich, saturated colors in shapes depicting holy figures, animals, and plants.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

They included David Butler (1898 - 1997), who fashioned animals, angels and people from cut and painted tin and other found items; the religious painter Sister Gertrude Morgan (1900 - 1980); Steve Ashby (1904 - 1980), who made raw figurative assemblages out of scavenged materials; and Elijah Pierce (1892 - 1984), whose carved and painted wood reliefs depict biblical scenes and national figures like the Rev. Martin Luther King Jr..

Matthíasdóttir painted figures, animals, buildings and landscapes of Iceland and Maine with a directness and clarity achieved through bold bands of color and broad brushwork.

At the same time, her almost decorative technique of making human and animal figures components of formal composition, through the arrangement, or insertion, of color fields within the pictorial space, credits Kudo as an aspiring successor of the modernist formal painting championed by Matisse»

His paintings pivot on narrative scenes: vivid menageries depicting well - dressed public figures and anthropomorphic animals in an acerbic critique of political systems and disingenuous agendas.

Organized by Claire Gilman, the show included nearly eighty drawings, including works based on paintings by Bruegel, prints by Hogarth, photos by nineteenth - century pornographers, and even the cover of a Dover paperback of «copyright - free» animal figures.

Assiff translates the luscious exoticism of Rousseau's original paintings into a thick, almost bas - relief plasticity and removes the figures and animals to create an aestheticized deforestation as visible in «Untitled (Exotic Landscape).»

As a coda to this narrative, the exhibition includes Pearlstein's most recent paintings, a series of three canvases completed in early 2015: nude female figures are animated with vibrant animal masks as they lounge and recline over Navaho rugs.

Several of Loretta's paintings have also been juried into Fusion Art's online exhibitions - «Elemental — Air, Fire, Earth, Water in 2015; «Waterscapes», «Animal Kingdom», «2nd Annual Figures & Faces» in 2016; and she won an Honorable Mention award in «Colors» in 2017.

He went on to paint gatherings of spooky figures and animals, their intense colour and silhouetted forms recalling both Arshile Gorky and the early renaissance.

The human figure remained Bacon's principal subject, however in the 1950s he made several paintings of animals and a small series of African landscapes and animals.

Alongside the Hulk figures are large paintings of realistic landscapes filled with inflatable animals and nudes that blur the senses.

About the themes of his work, in particular the animals that often appear along his heroic figures, Chia says, «In my painting, I like to leave the possibility for meaning open.

His paintings — depicting lush and evocative landscapes populated by figures and animals — are as much about colour, the slippery nature of memory and the visual pleasure of painterly mark - marking as they are about their often enigmatic subjects.

He blended the artistic styles of his adopted countries with those of Africa, creating mythical hybrid figures — combinations of animals, plants and humans — in large - scale paintings.

His recent show at the Fondation Beyeler (now at the Louisiana Museum of Modern Art, Humlebæk; until 16 August) hung alongside a major Gauguin exhibition; a mid-career retrospective at the Tate — an accolade for any artist — was accorded him in 2008 when he was still in his 40s; and during this year's Venice Biennale he will show a selection of new works which he summarises laconically as: «Five or six large paintings and quite a number of smaller paintings: some cityscapes, some walls, some figures, some animals.»

At the Well brings together small and large format paintings that expand the artist's unique iconography of eccentric figures, animals, and hybrids within vaguely familiar but imaginary settings.

These are accompanied by a suite of early paintings that reflect Golub's study of antiquity, a group of unsettling portraits of the Brazilian dictator Ernesto Geisel, and works on paper that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated.

Even though they are darker in nature, the paintings remain true to his style portraying floating animals and human figures in ethereal backgrounds.

I saw his painting Clara the Rhinoceros (1751) at Ca» Rezzonico in Venice, in which many of the figures behind the animal are wearing carnival masks.

Working in oil paint, mixed media, sculpture, and installation, Ye's works have been well - received internationally, especially her montaged sticker works that explode with animals, flora, and figures, or shape meditative Buddhist mandalas.

Using thick, rhythmic brushstrokes, he gesturally paints elegantly distorted female figures interacting with various animals in an intriguing suspension of reality.

These lush and swirling paintings feature figures sprouting flowers, salamanders bursting into flame, and animals decaying into fresh blossoms.

Ralf Winkler, the German artist who rose to fame in the 1970s with his caterwauling, violent, humorous, rigorously flat paintings of stick figures, animals and monsters that he signed with the pseudonym A. R. Penck (the better to elude unsympathetic East German officials, at least for a while), has periodically made stuffed felt sculptures.

Her loosely - painted figures and animals float amidst compositional narrative details (many referencing death or sinister activities) in landscapes of flat wallpaper - like perspective.

At the Well, produced to coincide with an exhibition of Neo Rauch's new works at David Zwirner in New York, brings together both small and large format paintings that expand the artist's unique iconography of eccentric figures, animals, and hybrids within vaguely familiar but imaginary settings.

Known for his large - scale, heavily impastoed paintings of anthropomorphic animals and figures, Armen Eloyan's new body of work draws from 17th and 18th Century portraiture, in both content and format.

Painting ambiguous narratives, populated by human and animal figures, his artwork allows the viewers participation in creating the final story.

There are also colorfully sweet, but disturbingly gruesome large watercolor paintings of anthropomorphic animal figures engaged in abusive acts.

Flowing over and out of their gilded frames» physical limits, these three - dimensional paintings capture grotesque scenes with animals, half - human figures and invented beasts that represent Gutheil's continued exploration of excess, exaggeration, chaos, and figurative painting.

At the Well, produced to coincide with the 2014 exhibition of Rauch's new works at David Zwirner in New York, brings together small and large format paintings that expand the artist's unique iconography of eccentric figures, animals, and hybrids within vaguely familiar but imaginary settings.

There, a library complete with books, plants, framed paintings, figures, and animals will, if only momentarily, transport you far away from the fair.

By John Baldessari - Beast (Orange) Being Stared At: With Two Figures (Green, Blue), 2004 - Eight Couples: Fighting (from White to Black), 2004 - Six Couples: People and Animals (from Violet / Yellow to Red / Green), 2004 - Tiger (Orange) and Trainer: With Three Figures (Red, Yellow, Blue), 2004 - Umbrella (Orange): With Figure and Ball (Blue, Green), 2004 By Jeff Koons - Mountains, 2000 - Sandwiches, 2000 By James Rosenquist - The Swimmer in the Econo - mist (painting 1), 1997 — 1998 - The Swimmer in the Econo - mist (painting 2), 1997 - The Swimmer in the Econo - mist (painting 3), 1997 — 1998 By Andreas Slominski - Bird Trapping Station, 1998 — 99 - Cough Syrup Transport System, 1998 By Hiroshi Sugimoto - Benjamin Franklin, 1999 - Henry VIII, 1999 - Catherine of Aragon, 1999 - Charles I, 1999 - Elizabeth I, 1999 - Emperor Hirohito, 1999 - The Last Supper, 1999 - Napoleon Bonaparte, 1999 - Oscar Wilde, 1999 - Pope John Paul II, 1999 - Rembrandt van Rijn, 1999 - Sir Winston Churchill, 1999 - Voltaire, 1999 - William Shakespeare, 1999

Extreme distortions of the human (and animal) figure are found throughout, as are the insouciant humor and reckless disregard for good taste that have fueled his work for decades, and that prompted early associations between Saul's paintings and the work of the Chicago Imagists and Bay Area Funk artists.

The exhibition will also include early Golub paintings that reflect his study of antiquity, his series of unsettling portraits of the Brazilian dictator Ernesto Geisel, and works on paper rendered in a raw, visceral style depicting subjects from political figures and victims of violence to nude forms and animals.

It can be argued that environmental art has its roots in the Paleolithic cave paintings of our ancestors that represented animals and human figures and other aspects of nature important for them.

«He uses colorful pieces of fragmented pencils, sometimes held together with zip - ties, to create sculpted landscapes, animals, paintings, and even three - dimensional human figures.

Having painted from an early age, he has developed a highly personal visual language that comprises a host of recurring figures and animals.

On a center table were seven new bronze sculptures with miniature hand molded human figures and animals while paintings on the walls depicted the passion and intimacy of a couple locked in mid to post coital embrace.

As a backdrop, a colossal painting of an asbestos - suited figure fleeing a burning Manhattan while being pursued by a human - headed snake, making its way to a garbage strewn New Jersey where a skeleton lies in wait with a gun; in front, a life - size sculpture of a map - skinned boy with flames sprouting from his body races toward a tree hung with animal skulls and a severed head.

★ Anne Chu: «Rubric for the Eye» (closes on Saturday) In the past, Ms. Chu's rough - cut and painted figures of half - human animals, inspired by ancient Chinese tomb sculptures, have proposed an alternative version of nature.

He produced an array of paintings, watercolors, drawings, and prints, portraying human figures and animals in daily life and fantastical scenarios.

BRIAN COLLEY It wasn't until he moved to the Roaring Fork Valley in 2010 that Brian Colley «figured out what to do with his art»: realistic watercolor and acrylic paintings with unexpected elements, like animals walking the hallway of a mountain mansion.

Through painting, Brutto explores the physicality of paint itself to create obscured and abstracted images that explore the human figure, landscapes, nature and animals and their relationships to one another through destruction / creation and life / death cycles.

The exhibition embraced all of these possibilities and enlarged our understanding by including works with all manner of inanimate subject matter — bottles, fruit, fish, meat, and fowl, along with flowers, seashells, animals, insects, and eyeglasses — plus a few paintings with figures.

Once he began executing his black paintings, Pollock abandoned covert strategies and left visible figures, all sorts of faces (including at least one Indian head replete with feathers), ears, limbs, hands, feet, foxes, birds, and other animals generally found outdoors in nature.