Sentences with phrase «paints her subjects going»

Yiadom - Boakye, who comes from a Ghanaian background, paints her subjects going about ordinary business — dancing, running, reading.

Not exact matches

After a brief account of the history of the church's ambivalent understanding of art, Trotter proposes a scheme for identifying three types of «religious» art, going beyond subject matter to the effect different paintings have on us.

She finally decided to go back to basics and using the photograph as inspiration painted the subject.

Haggarty comments: «I never start a painting and think I'm going to arrive at a subject, or I'm going to find it through process... I want mistakes to happen and I want process to intervene and surprise me and interrupt me but... it almost always has some kind of direct relationship with either a memory, or a situation I have been in... and I wonder how I can remember that and portray that... [The works] are almost always rooted in some kind of personal memory.»

Just as much as I was able to go against the Abstract Expressionists» idea of subject matter becomes the content and the content becomes the form, I created my own style to be the content of the painting.

«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.»

There is a well - worn narrative of twentieth century painting that goes like this: From Cezanne to Picasso to Pollock, the illusionistic space of painting flattened more and more until the picture plane and the surface created by the paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.

Avoid the former show if you want to keep away from abject, base subject matter — McCarthy has made his career our exposing erotic, profane and damn dirty desires, and his new paintings push all boundaries of taste imaginable... I wonder what image our picture editor is going to choose for this page?

In his intricate paintings, Umar Rashid (Frohawk Two Feathers) re-imagines 18th century colonial history, conjuring a fictional cast of subjects within his own original on - going narrative that includes a rebel fighting force of freed slaves, militiamen, dikes, lords, and tribesmen.

Hoptman notes that their experimental strategies and systematic distillation of painting practice eventually resulted in «abstraction's death by a thousand irrelevancies,» leading succeeding generations of painters to repudiate formalism and conclude that the age of content without subject matter was long gone.

John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses on the artist's dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist's media - savvy black - and - white painted images: «Gestures go viral, escaping one painting and contaminating another.

Although Bischoff went on to paint colorful, thickly pigmented scenes of figures in interior or landscape settings for nearly two decades, by the early seventies he was, by his own admission, losing interest in the figure as subject matter.

Saul has long poked admiring fun at the giganticism of capital - A abstract painting, always smiling as he kills; his subject matter has always been incendiary and his visual style go - for - the - throat.

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.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

In Jinchi's paintings, though, the words are gone; what was an indicator of the way to holiness now becomes a code without a subject.

In another painting, Daddy's Gone, Girl, Fischl returns to an earlier subject for the first time ever, depicting the subject from his 1984 painting Daddy's Girl, as she is now, older and fatherless.

This exhibition aims to expand such perceptions by revealing a trajectory of technical styles and socially - conscious subjects that have pushed Zelazny to go beyond the Imagist tradition and forge a path in the canon of painting.

As the years have gone by, Crossman's subjects, techniques, and the resulting works of art have evolved, and she confides that with her latest paintings, her Beach and Pacifica Series, «I have come into my own.»

Although she doesn't paint abstracts Audrewy Kawasaki always strikes me as very effeminate, in part because of her subject matter, but it's also how she goes about presenting and rendering things.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

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.

The return of abstract painting, which, of course, never really went away, has been the subject of a number of solo and group exhibitions locally as well as internationally.

During the interview, Katz tells Clark that to him «the surface is the whole thing», however, as I've learned, there is nothing superficial about the processes he goes through and the history of the development of his approach to his paintings and subjects that could, in any way, be interpreted as shallow.

Isobel Peachey, 31 may be the youngest Artist to paint an official portrait of the monarch but going by the middle age style in which she approaches the subject, she adds nothing original to Royal portraiture as a form.

So I thought, maybe if I painted this subject Trump would just go away!»

«So this is the second show [at David Zwirner London]-- and I've always been fascinated by Britain for several reasons, for example it is one of the last «class societies» — although I don't know how long it will still go on — but I once tackled that subject in a small show, the first white cube show that I did called «Spelndid Isolation», and one of the portraits in that show was also based on Henry Draper [American doctor, amateur astronomer, and pioneer of astrophotography]-- these three works in front of you [portraits: «William Robertson», 2014, «John Robison», 2014, and «John Playfair», 2014] are derived from the paintings in the professors room at University of Edinburgh.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

Two years later, she came to New York to study painting at Cooper Union, going on to earn a graduate degree in the subject from Yale.

First of all, on the surface which I am going to paint, I draw a rectangle of whatever size I want, which I regard as an open window through which the subject to be painted is seen.

However, this idea goes back even further to Matisse's «Portrait of Madam Matisse,» shocking for the crude green stripe painted down the subjects face, obviously a product of more innocent times.

If Warhol's familiar paintings of Campbell's soup cans raised questions about which subjects are appropriate for artistic representation, his Brillo boxes went to the heart of the issue of representation itself.

Like how you did the painting on backing and frame, the rustic look goes with the subject matter.