Sentences with phrase «see the paintings without»

Anyone shorter than four feet tall will have to make adjustments to see the paintings without a glare.

Not exact matches

He could do such painting without reverence, but when you think of Millet's great works, that make his name immortal, that he loved, brooded over, and put himself into, you know that he inwardly bowed himself, like the worshipping figures of his «Angelus,» before the vision of beauty that he saw.

We can see, however, that the expressive power of painting can be increased without there being a taboo against references to the physical world.

Given that this was the decade that saw two whole parliamentary sessions without a single vote being cast against their whip by a member of the governing party, this observation was at least more accurate then than modern - day attempts to paint politicians as a bunch of spineless sheep.

This way you can sort of practice to be sure you have a feel for how to apply the paint without worrying about it being seen.

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It's a rare sight to see me without painted nails, and it's definitely no secret that I love getting my nails done!

Since chalk paint is flat, without the coat of protection, you will see every finger print, smudge, etc and they will be hard to remove.

Unfortunately it is difficult to get good pictures in a room without a window for natural light, but you can see the difference that a fresh coat of paint makes in fixing up our old house!

Whether the Super Duty FX4 off road package is better than the Dodge Power Wagon remains to be seen; all we know, is that we made it over boulders, through mud ruts, and up rocky goat trails without a scratch to the paint (the skidplates were another matter).

The only similar looking thing I saw, that wasn't rust, was tree sap dripping on one car that sat under a tree for years, the stuff was as hard as the clearcoat, took forever to clean it off without damaging the paint, but hard to say just from pics

The ordering guide you can see here also exposes three different sets of wheels with or without run - flat tires, a large handful of metallic exterior paint options, various leather options, and M Sport Package, and a Luxury Package, among other things.

It is hard to explain this painting without seeing it and just going on description.

Seeing him draw, she tells him of a cursed 200 year old painting using the blackest ink ever known from a 1000 year old tree the painter had brought down without approval from the Emperor who had him executed for doing so.

This spaniel takes its name from King Charles II of Britain, who was often depicted in paintings and tapestries in the company of a small spaniel and was reportedly «seldom seen without his little dogs.»

... A week of diving in Lembeh wouldn't be complete without seeing Hairy Frogfish, Mimic Octopus, Wunderpus, all four types of Pygmy Seahorse, Tiger Shrimp, Flamboyant Cuttlefish, Coconut Octopus, tiny Painted Frogfish, Clown Frogfish, Lembeh Sea Dragons, plus extra awesome night dives with Bobbit Worms, Starry Night Octopus and Bobtail Squid.

«Want to see Lari Pittman paintings without crowds and blocked views?

After all, painting as an activity is a cultural construct, and it can not really be seen and understood without some sense of its relation to art history.

In any case, in the same review that Roberta wrote she also mentioned late Manet, Morandi, and William Nicholson in reference to your paintings and I can understand and see how each would refer to the shared sensitivity of intimacy without giving up rigorous observation of the chosen object.

The catalog is well done, but without seeing the work in person and experiencing the scale of the large paintings, one can't get the full impact of their greatness.

So without further ado, your top ten most romantic paintings on display in the UK are as follows and you can see the ArtFunded works in the gallery above... Happy Valentine's Day!

See Without Seeing and Know Without Knowing is an installation of ethereal paintings that considers that we, as living beings, are energy bodies made up of small, moving particles, which exist without edges or bounWithout Seeing and Know Without Knowing is an installation of ethereal paintings that considers that we, as living beings, are energy bodies made up of small, moving particles, which exist without edges or bounWithout Knowing is an installation of ethereal paintings that considers that we, as living beings, are energy bodies made up of small, moving particles, which exist without edges or bounwithout edges or boundaries.

Unlike the other realists of the time, Pearlstein chose to paint exactly what he saw, without resorting to photography or narrative.

These are really «all - over» paintings in the manner of the Abstract Expressionists, while the Urbana works have the density and brooding mass of de Kooning paintings, such as we see in Urbana # 6, with its blocky, interlocking shapes, but without the older artist's slippery, frenetic gestures.

The painting on the back comes into existence without my seeing it.

Dodd talks about the painting process, why she paints what she sees, and how she survived for so long without a day job.

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

The Temporary Loss of Eyesight paintings are about reality that is bright and interesting, but the person's sight is obscured, and so it is impossible to see it without prejudice.

The unpredictable, rich yet uningratiating dimensional materiality of the paint strokes in these paintings, and the density of mark making has generally been of greater interest to me than the late paintings, some of which were on view in Mitchell's 2002 retrospective at the Whitney Museum — I saw these as too big, too empty, too facile, without tension.

That being said, Stella never wanted his audience to get more out of a painting than the paint itself; in his own words, «All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion... What you see is what you see.»

One of Frecon's recent goals has been «to create paintings without boundaries,» a notion alluding to their visual expansiveness as well as to the conceptual framework - «an underlying rational order» - within which the images are seen to reside.

He wants to subvert the standards of judgment integral to our understanding of abstract painting, while being committed to the act of making... He is interested in — to use his own words — perversely cultivating the tenuous relationship between «creative seeing» and the randomness of nature without becoming explicit... By finding ways to foreground his conflicts about painting, while also expanding its definition, Burckhardt has become one of the most interesting artists of his generation.»

Kate Shepherd, Marigold, 2009 A Summer of Modern Art at The Phillips Collection This summer, The Phillips Collection presents Robert Ryman: Variations and Improvisations, the celebrated artist's first major exhibition in Washington, featuring rarely seen white - on - white paintings; Pousette - Dart: Predominantly White Paintings, an exhibition of luminous, poetic works created nearly without paint; and the latest project in the Intersections contemporary art series, in which Kate Shepherd incorporates her paintings and sculptures to create an immersive environment in paintings; Pousette - Dart: Predominantly White Paintings, an exhibition of luminous, poetic works created nearly without paint; and the latest project in the Intersections contemporary art series, in which Kate Shepherd incorporates her paintings and sculptures to create an immersive environment in Paintings, an exhibition of luminous, poetic works created nearly without paint; and the latest project in the Intersections contemporary art series, in which Kate Shepherd incorporates her paintings and sculptures to create an immersive environment in paintings and sculptures to create an immersive environment in -LSB-...]

One can not see the entirety of the large - scale painting Journey Without Distance (2011), because of its proximity to an adjacent wall and the lack of light.

The early paintings are blocks of color and shapes that are based on things and scenes that Judd saw, later he moved to abstract shapes without the references and this in turn became shapes on fields.

But in general, I lean towards a multicoloured palette instead of a monotone one, just because it is what you get (at least at first) when you release control of your palette — you pick anything you see and squeeze paint straight out of the tube onto the canvas without mixing.

It interesting to see these materials trapped inside the glass in a way mirroring how painting can be viewed in contemporary art, trapped in tradition and without much room to escape its own conventions.

Born in Port Arthur, Texas, where, he said, «it was very easy to grow up without ever seeing a painting,» Rauschenberg repeatedly told an anecdote about a visit to The Huntington.

If it is impossible to see Frank Stella 1958 without thinking of his future, the show's reference points are not solely the black paintings to come.

When Rogers began his new paintings on mass produced wood doors (referencing De Kooning's use of doors for his Women series, 1964/65) this past summer, he saw them as singles, without the intention of bringing them together as a diptych.

After I saw the oil fires burning in Kuwait in 1991, an Irish artist painted Fisk's Fires — a title I could have done without — in which she very accurately portrayed the bleached desert with the rich, thick, chocolate - tasting oil we tasted in the aftermath of the war.

For him, seeing a work in black and white had particular advantages — specifically it enabled him to more easily perceive the structure of a painting, without the distraction of color.»

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

I am most interested in depicting what Alan Watts called the mystery of the ordinary; the workaday world we live in without seeing until we are forced to focus upon it, as in a painting.»

The strangest feeling, as I remember it, was to locate the white shapes locked safely into the colour grid, but to see them also as free and ready to enter our space, our world... The conundrum of these masterpieces is that they are decorative without being designs, pictorial without being paintings, heart - stopping in their directness, their economy, their inventiveness.»

Most people will have seen their paintings probably without realising, with prints appearing everywhere from Ikea to the greetings card shelves in the supermarket.

, ArtPharmacy (Blog), June 12 Elisa della Barba, «What I loved about Venice Biennale 2013», Swide, June 2 Juliette Soulez, «Le Future Generation Art Prize remis a Venise», Blouin Artinfo, May 31 Charlotte Higgins, «Venice Biennale Diary: dancing strippers and inflatable targets», The Guardian On Culture Blog, May 31 Vincenzo Latronico, «Il Palazzo Enciclopedico», Art Agenda, May 31 Marcus Field, «The Venice Biennale preview: Let the art games commence», The Independent, May 18 Joost Vandebrug, «Lynette Yiadom - Boakye», L'Uomo Vogue, No. 441, May / June «Lucy Mayes, «Lynette Yiadom - Boakye», a Ruskin Magazine, Vol.3, pp. 38 - 39 Rebecca Jagoe, «Lynette Yiadom - Boakye: Portraits Without a Subject», The Culture Trip, May Lynette Yiadom - Boakye, «Lynette Yiadom - Boakye on Walter Richard Sickert's Miss Gwen Ffrangcon - Davies as Isabella of France (1932)», Tate etc., Issue 28, Summer, p. 83 «Turner Prize - nominated Brit has art at Utah museum», Standard Examiner, May 1 Matilda Battersby, «Imaginary portrait painter Lynette Yiadom - Boakye becomes first black woman shortlisted for Turner Prize 2013», The Independent, April 25 Nick Clark, «David Shrigley's fine line between art and fun nominated for Turner Prize», The Independent, April 25 Charlotte Higgins, «Turner prize 2013: a shortlist strong on wit and charm», guardian.co.uk April 25 Charlotte Higgins, «Turner prize 2013 shortlist takes a mischievous turn», guardian.co.uk, April 25 Adrian Searle, «Turner prize 2013 shortlist: Tino Sehgal dances to the fore», guardian.co.uk, April 25 Allan Kozinn, «Four Artists Named as Finalists for Britain's Turner Prize», The New York Times, April 25 Coline Milliard, «A Crop of Many Firsts: 2013 Turner Prize Shortlist Announced», Artinfo, April 25 Sam Phillips, «Former RA Schools student nominated for Turner Prize», RA Blog, April 25 «Turner Prize Shortlist 2013», artlyst, April 25 «Turner Prize Nominations Announced: David Shrigley, Tino Sehgal, Lynette Yiadom - Boakye and Laure Prouvost Up For Award», Huffpost Arts & Culture, April 25 Hannah Furness, «Turner Prize 2013: a dead dog, headless drummers and the first «live encounter» entry», Telegraph, April 25 Hannah Furness, «Turner Prize 2013: The public will question whether this is art, judge admits», Telegraph, April 25 Julia Halperin, «Turner Prize shortlist announced», The Art Newspaper, April 25 Brian Ferguson, «Turner Prize nomination for David Shrigley», Scotsman.com, April 25 «Former Falmouth University student shortlisted for Turner Prize», The Cornishman, April 29 «Trickfilme und der Geschmack der Sonne», Spiegel Online, April 25 Dominique Poiret, «La Francaise Laure Prouvost en lice pour le Turner Prize», Liberation, April 26 Louise Jury, «Turner Prize: black humour artist David Shrigley is finally taken seriously by judges», London Evening Standard, April 25 «Turner Prize 2013: See nominees» work including dead dog, grave shopping list and even some paintings», Mirror, April 25 Henry Muttisse, «It's the Turner demise», The Sun, April 25 «Imaginary portrait painter up for Turner Prize», BBC News, April 25 Farah Nayeri, «Tate's Crowd Artist Sehgal Shortlisted for Turner Prize», Bloomberg Businessweek, April 25 «Turner Prize finalists mix humour and whimsy», CBC News, April 25 Richard Moss, «Turner Prize 2013 shortlist revealed for Derry - Londonderry», Culture24, April 25 «David Shrigley makes 2013 Turner Prize shortlist», Design Week, April 25 «The Future Generation Art Prize@Venice 2013», e-flux.com, April 21 Skye Sherwin, «Lynette Yiadom - Boakye», The Guardian Guide, March 2 - 8, p. 36 Amie Tullius, «Seasoned by Whitney Tassie», 15 Bytes, March «ARTINFO UK's Top 3 Exhibitions Opening This Week, ARTINFO.com, February 25 Orlando Reade, «Whose Oyster Is This World?»

The texture of the paper, the thickness of ink or paint, the sense of the artist's hand are all seen without a filter of glass, bringing the viewer's experience to a more intimate level.

15 In his memorial paintings, Whitten creates works that he sees as allegorical to their subject, and Spiral could be seen as «allegorical» to Bearden's collages: it evokes without replicating them.

It is a disservice to focus on the «what» of Saul's paintings without seeing the particularities of the «how.»