Sentences with phrase «really as a painter»

Not exact matches

I pose to the reader, or any person, the following dilemma: Imagine Alan in two possible worlds: one world like the one just described in which he thought he was a great painter and felt completely happy about this, and died, but was deceived and another world in which he really was a good painter and his paintings sold for a high price because he was being recognized as such and was not deceived, and again dies happily.

Michael Boone is an ex — «really famous» painter acting as caretaker for his younger brother, a damaged man of childlike emotional volatility.

Michael — a.k.a. «Butcher» — Boone is an ex — «really famous» painter: opinionated, furious, brilliant, and now reduced to living in the remote country house of his biggest collector and acting as caretaker for his younger brother, Hugh, a damaged man of imposing physicality and childlike emotional volatility.

From the book jacket: Michael — a.k.a. «Butcher» — Boone is an ex — «really famous» painter: opinionated, furious, brilliant, and now reduced to living in the remote country house of his biggest collector and acting as caretaker for his younger brother, Hugh, a damaged man of imposing physicality and childlike emotional volatility.

I really like your strategy of interleaving short chapters with your paintings, as that seems really appropriate to capture your life experience as a painter - writer.

The Papillon became really popular when Tiziano Vicelli painted them in the 16th century, as a result of which many other renowned painters began to include the Papillon dog in their works.

The feminist's first reaction is to swallow the bait, hook, line and sinker, and to attempt to answer the question as it is put: i.e., to dig up examples of worthy or insufficiently appreciated women artists throughout history; to rehabilitate rather modest, if interesting and productive careers; to «re-discover» forgotten flower - painters or David - followers and make out a case for them; to demonstrate that Berthe Morisot was really less dependent on Manet than one had been led to think — in other words, to engage in the normal activity of the specialist scholar who makes a case for the importance of his very own neglected or minor master.

After all, there are few areas that are really «denied» to men, if the level of operations demanded be transcendent, responsible or rewarding enough: men who have a need for «feminine» involvement with babies or children gain status as pediatricians or child psychologists, with a nurse (female) to do the more routine work; those who feel the urge for kitchen creativity may gain fame as master chefs; and, of course, men who yearn to fulfill themselves through what are often termed «feminine» artistic interests can find themselves as painters or sculptors, rather than as volunteer museum aides or part time ceramists, as their female counterparts so often end up doing; as far as scholarship is concerned, how many men would be willing to change their jobs as teachers and researchers for those of unpaid, part - time research assistants and typists as well as full - time nannies and domestic workers?

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

The writer and former director of the ICA, Ekow Eshun, considers whether Basquiat was really «one of the most significant painters of the 20th century», as -LSB-...]

I use to say that it didn't really affect me as a painter or my career, however, the further I get into my career, that more grateful I am for those women who fought for the right to make work that they wanted and to show the significance of being female.

Amid the leaden self - importance of the abstract expressionist generation of painters, Baldessari played the ingenue, seeing what would happen, as he puts it, if he took art at its word: «If it really was all about communication, why not really try to communicate, with things that everyone could understand?

I actually like this physical activity where you're almost unconscious, because you're not really thinking about anything, you're just doing, but the end result doesn't necessarily reveal the process or become the subject as in the work of Abstract Expressionist painters.

«I studied as an abstract painter and i was really excited about how these different fabrics collided but they made sense.

With quite a clutch of good new exhibitions all clamouring for attention, I feel I should start with one which puts straight into the top league a young painter whose career so far has been watched with considerable interest, as they say, but who hasn't really hit the headlines.

That she's not better known is a bit of a surprise, really, considering her many claims to art - world royalty — as, to mention a few, the daughter of painter Harvey Quaytman and poet Susan Howe; the former co-proprietor of the legendary LES gallery Orchard; her inclusion in major shows like the 2010 Whitney Biennial, Nicolas Bourriaud's «The Angel of History,» and the Whitney's «America Is Hard to See» survey; and her presence in the collections of MoMA, the Guggenheim, and Tate Modern, to name a few.

We had Picasso - influenced artists such as Keith Vaughan and John Craxton, painters of that sort, but they were really very dilute versions of the man himself.»

So those two are really important, and then there are all of the figurative artists that I love, because I think of myself as a figurative painter.

Simon Ling strikes one as an anomaly in this whole set - up, and not because he's the only male artist, but because he's a painter who taps into his inner expressionist (without ever really unleashing it), whereas restraint, rigour and meticulous precision seems to, to a greater or lesser degree, define the other four.

He remembers Frankenthaler, Hartigan, and Mitchell as «really strong painters,» but stubbornly upholds the supremacy of Pollock, Willem de Kooning, and Rothko and the separation between first - and second - generation painters, which has pushed so many women to the margins.

This really remarkable display, which will go down in N. Y.'s art history as one of the few events — for there is a wide distinction between incidents and events, in said history — and which has already excited, not only the galleries, studios and the art public, but even the larger public of the Metropolis which, although perhaps comparatively ignorant on the subject of art, is always athirst for a new sensation — is like a «bomb from the blue & quot; in the artistic camp of American painters and sculptors.

«Even though he is known as the painter from Maine, his roots are really in European modernism.

And he likes the challenges of fabricating a piece as if he were someone else: «I really like putting on my Donelle thinking cap and making her work — troubling over all the issues that painters trouble over,» he says, «precisely because I am not a painter.»

That was really the beginning of the American painters acting as a group.

A new reckoning for Ross Bleckner was certainly afoot at Mary Boone in Chelsea on Saturday night, where the artist's new paintings — a kind of retrospective of the new, as one visitor noted — was waking people up to what a seriously good painter the guy really is.

Helen Little, curator of the exhibition at the Tate Gallery, said: «We've brought together over 90 of what we think are the very best of Lowry's urban scenes and industrial landscapes, really to argue for Lowry's status as Britain's pre-eminent painter of the industrial city.»

As to the question of whether or not Dylan can or does paint — admittedly and quite possibly an absurd inquiry — there are essentially two points of view: Given his overwhelming presence as a folk - rock singer and songwriter, we might ask: does he really care if his audience takes notice of his talent as a painteAs to the question of whether or not Dylan can or does paint — admittedly and quite possibly an absurd inquiry — there are essentially two points of view: Given his overwhelming presence as a folk - rock singer and songwriter, we might ask: does he really care if his audience takes notice of his talent as a painteas a folk - rock singer and songwriter, we might ask: does he really care if his audience takes notice of his talent as a painteas a painter?

I came into the MFA Program as a painter but not really understanding what painting is (this was the time of BFAs in self - exploration) and found myself in a space of magical thinking where I assumed, now that I was in the same program that graduated the likes of Chuck Close and Brice Marden, I would suddenly be able to paint anything I wanted.

But his career as a painter didn't really take off until 1950 when he began the «Homage to the Square» series, at the age of 62.

I really became an abstract painter because of Blinky Palermo's work, but it could just as easily have been because I quit smoking.

And just as some masterpieces (think of Shakespeare's plays «really» written by Bacon) are dogged by fancies that they were done by someone else, so it has turned out to be with Goya and the Black Paintings: a Spanish furniture historian, Juan José Junquera, recently created a brief flurry of headlines in Europe and America by claiming - on no pictorial evidence at all - that the Black Paintings were «really» done by Goya's son Javier, a ne'er - do - much who may have been a painter - certainly his father called him that, if only in support of his application for a pension - but by whom no attributable paintings exist.

Artists can be critics too, but they may lack teh objectivity to look at the artists and really analyze teh merits of each as the discussion deals with the concept of «most influential» painter.

Artist Anish Kapoor began his career as a painter, but really he is so much more - with his richly substantial works and now iconic designs for the London 2012 Olympic Orbit tower.

Prolific as a painter, graphic artist and ceramist, Milton Avery received numerous awards from American art institutions before he died in 1965 although he only really became famous posthumously.

It was really thinking about how I'm attracted to the distortion of the image as a painter, and about how to make it about painting ultimately.

Greenberg couldn't really embrace Stella or later painters of the same stripe (so to speak) such as Sean Scully or less disciplined linear digressions like Brice Marden.

I started as a painter and wasn't really looking at British art as much as the Americans.»

Always been a painter really only means since the time I started painting with a sense of conviction, which actually, really from — because I studied sculpture right through my BA as well and it was only the last year, the last few months of the BA...

I thought about other painters who have used the body as a tool — like Gutai artists or Yves Klein — but they're really after something else.

Rubinstein: Another thing running through my mind as I formulated Reinventing Abstraction was the fact that many painters I really admire are not at all engaged with what I've called «provisional painting,» which has preoccupied me over the last few years.

Although it can sometimes appear as if contemporary painting doesn't really require a subject other than itself, painters themselves are generally immersed in a self - selecting field of their stylistic forebears, perf group and younger contemporaries.