Sentences with phrase «real subject of her painting»

Not exact matches

With layers of colour that randomly conceal his subjects» faces, it's a unique style that seems to try and hide the real essence of each person he paints.

«It is the real subject, of which everything he paints is both an homage and a critique, and everything he says is a gloss.»

The artist does not paint portraits of real people, rather she depicts people she has conjured up — fully formed subjects who appear to have complicated, interesting lives and deep backstories.

All of Cooke's subjects stem from real life — his autobiography, live models or photographic and literary sources — but metamorphose away from these everyday referents as they become realized in paint and enmeshed in the landscape of the work.

Realism is the art style most people regard as «real art,» where the subject of the painting looks very much like the real thing, rather than being stylized or abstracted.

But subject matter came back in a really strong way with the Pop thing, and when subject matter came back, it seemed opposed to the idea of a more abstract or, say, mystical painting, and against the idea that other things were coming out of a painting rather than real imagistic pieces of information.

More recently, paintings by a Henry Codax have been alighting at galleries and at least one auction house, his real identity a subject of some speculation.

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!

«Dimensions Variable» also features the artist's hand - constructed frames, suggesting a threshold for the subjects of the paintings to come forward, into «real life», as they visually oscillate between the foreground and background of the illusionistic painting.

The actual paint or ink falling down the substrate and forming a recognizable subject (the waterfall) is, in itself, a combination of real and symbolic imagery.

And, like Ed Ruscha's musings about the nature of texts in his paintings — that words, or at least the use of them as a subject, don't inherently have any real scale — the grid perspective allows an expansion and contraction of otherworldly senses of scale and pacing.

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.

The exhibition consists of a series of real - time portraits that Kopp painted of fiercely loved subjects that sat for him via Skype, marrying the practice of 19th - century oil painting with modern communication.

Featuring a wide array of disasters as subject matter, such as forest fires, railway accidents, arson, and factories producing toxic plumes, the Disaster Paintings eternalize the real - life modern events we are faced with daily in contemporary society yet quickly forget when the next catastrophe occurs.

In his handling of paint Colen collapses the legibility of his subjects, denying conventions of pictorial space, and conflating the phenomenal and the real.

But where Kim attempts a «true» match between the skins of real bodies and the surfaces of his paintings, Levine trades in the field of representation, showing that the signifying power of the subject can not be held apart from the logic of the commodity.

But even this is overshadowed by the realization that her real subject is painting and how the medium can be revitalized by social change and the advent of new visual technologies.

His work has been the subject of solo shows at RJD Gallery and is included as one of eight American realism painters in «GET REAL: New American Paintings» at MOCA in Jacksonville, FL..

Realism too, (or representational art) came naturally to the new generation of Irish artists anxious to embody real Irish subjects in their paintings.

Maintaining the connection to the real world, Gall's paintings are still abstract in their subject and play with the illusion of cut - outs — the meticulously painted holes, shadows and apparent kinks perfectly imitate the materiality of paper.

Describing her ideas about painting, Appel explains, «my work is not so much about pretending the real thing is there, but more about the presence of the subject, as well as the presence of the painting in space.»

The real subject becomes the substance and surface of oil paint, the variety of its applications, and the ways in which it can be used to celebrate life.

It is his real subject, of which anything he paints is both a homage and a critique, and everything he says a gloss.»