Sentences with phrase «saw the painting in»

On writing about art, she told BookPage: «When I started going back to museums and seeing these paintings in the flesh, I was so overwhelmed by them.

I had seen the painting in a museum, but had no idea of its background.

We see paintings in time and place (no picture makes this clearer, putting us on the spot and in the moment) and always in the context of our own lives.

I'd seen his paintings in a few exhibitions, and had researched to learn more about them.

I'd seen his paintings in a few exhibitions,... Read More

But this judge never saw the painting in real life.

It's fascinating to see these paintings in «the flesh» because you simultaneously take in the strong scaffolding structural design and architectonic, reductive form, explored with very fluid, sensitive brushwork.

And so refreshing to see paintings in a setting so much more intriguing than a white walled gallery (I just had a showing in a barn).

See the painting in the lower left corner of the picture below?

Giuliani pulled funding from the museum because he found Ofili's painting The Holy Virgin Mary anti-Catholic, even though he did not see the painting in person.

In fine art, the paint itself was considered the critical, essential element, and the trend in seeing paint in this way began in the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpieces.

The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist.

From there they visited Florence, seeing the paintings in the Uffizi and the Palazzo Pitti as well as local monasteries.

The paintings were well received by the public at large, and it was the artist Wassily Kandinsky, after seeing the paintings in an exhibition in Moscow in 1895, that suggested this series as the first abstract painting in history.

In the movie, we see your paintings in different scenes.

Having seen this painting in the landmark 1905 Van Gogh retrospective at the Stedelijk Museum in Amsterdam, Paul Cassirer, the leading German gallerist of the time, placed it immediately afterwards in his own traveling exhibition, which alerted the German public, art critics, historians, and contemporary painters alike to the achievement of an artist who was rapidly achieving legendary status.

But the thing about Barkley Hendricks is that, when I see his paintings in people's houses, they still look weird as could be.

Perhaps what surprises most about seeing the painting in person is how small it is.

The younger artist Christopher Wool saw these paintings in 1975 at a New York gallery, where they struck him with force; looking back today, the paintings seem like doors, openings between past and present.

In terms of the tour, it is also interesting to see the painting in a range of different settings and perspectives.

Having seen the painting in the landmark 1905 Van Gogh retrospective at the Stedelijk Museum in Amsterdam, Paul Cassirer, a leading German gallerist, placed it in his own travelling exhibition.

Has seeing your paintings in this context, alongside Shields» work, generated any new thoughts about either your visual art or writing — reflections on work you've made, ideas or intentions for future work?

You will want to see these paintings in person rather than online.

He initially trained as a pharmacist, and while always drawing, only struck on the idea of art as a vocation after seeing the paintings in Huntingdon Library in California while on a leave of absence from the navy.

Can you comment on how you see painting in general, and this work in particular?

I also saw his paintings in the Upper Room exhibition at Tate Britain in 2005.

I confess that it took a second trip to the Center for Italian Modern Art (CIMA), on the occasion of a conversation between Robert Storr and Lawrence Weschler on October 26th, to move past Alberto Savinio's off - putting style and begin to see his paintings in formal, material terms.

It is a refreshing idea to read in a press release and creates a challenge to see each painting in line with an ad - hoc visionary tract.

JL When people first saw those paintings in the mid -»80s they found my color choices almost unbearably ugly.

Several of the artists represented in the exhibition studied and / or worked in Spain, or were influenced by Spanish art in other ways; seeing their paintings in the context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand how many of these Mexican artists later began to forge their own artistic path distinct from their European contemporaries.

This preparatory work has involved a fair share of travel, allowing the curators to see the paintings in person — Kerry's work is of a kind, after all, that really has to be appreciated and experienced in the flesh.

Stop by and see a painting in person.

Pop artist James Rosenquist is seen painting in his studio, while Warhol regulars John Giorno, Wynn Chamberlain, and Gerard Malanga also make appearances.

We saw paintings in irregular shapes by Manuel Espinosa, Juan Melé, and Rhod Rothfuss; we saw plastic, neon, dangerously sharp metal edges; we saw Mira Schendel's sheets of rice paper hanging from a nylon cord, all fluttery like parrot tulips.

I made a special trip to see those paintings in real life.

Visitors to the Glass House will see the paintings in the same setting Johnson and Whitney did, in a gallery built into an earthen berm.

And you're asking the viewer to see the paintings in those terms.

But I also see these paintings in relationship to the work of Eleanore Mikus, Anni Albers, and Sheila Hicks.

Whatever Mullen's intentions, seeing this painting in the unprecedented context of Mullen's rising career as a nonverbal autistic artist, there are parallels between Mullen and Marshall worth recognizing.

How do you see your paintings in relation to your own body?

Walter Hopps, Bill Berkson, Marla Prather, Greil Marcus and others contribute essays and reproductions of «The Rose,» and other works by DeFeo will make every reader want to see the painting in person.

It was very interesting to see those paintings in the context of the eighties, when Neo-Expressionism was the predominant trend, owing a great deal to French Surrealism and German Expressionism, but your paintings had an emphatic homebrewed quality.

But as arresting as it is, the drop - everything, must - see painting in the show is «Off White Square,» an astoundingly beautiful work that, at 79 3/4 inches tall and 255 1/2 inches wide, commands an entire wall and everything else around it.

We had been following Shara Hughes» work for quite some time but had never seen her paintings in person nor met the artist herself.

There is no substitute for actually seeing paint in situ.

I see paint in their future, and maybe some chicken wire.

I could see this painted in any color, maybe bulked up a bit with some extra moulding, and sitting on top of a cute little desk.

Yep, I see painting in my near future.

Not exact matches

Glass Door is a valuable source of information for them, so it's wise to regularly check in there to see how employees (and ex-employees) paint a picture of your company.

According to island lore, local fisherman started painting their homes in bright colors — hues of orange, red, yellow, and purple — so they could see them while out fishing in the fog and could follow their colors back home.