Sentences with phrase «several images of paintings»

Not exact matches

Nadine Orenstein, the curator of the 2001 Bruegel exhibition at the Metropolitan Museum of Art from which the researchers got their digital images, suggests that they should try Rembrandt, several of whose paintings (or alleged paintings) remain controversial.

She then painted several subjects, cut them out, arranged the cut outs on paper and made a copy of that image, to give a textured effect.

In the 1992 «MLR (More Light Research)» series, Genzken built up layers using stencils and multiple applications of metallic paint sprayed through screens to create shimmering images, including one of the Hancock Building X, another of a grid of lightbulbs and several featuring a pair of gymnastic rings.

The exhibition will present selections from Bayrle's most iconic series, including several of his rarely exhibited «painted machines» — hand - painted kinetic works inspired by images of Chinese pageants and other mass demonstrations.

Sigal's installation also included a large wall painting and several smaller canvases, combining images of stained surfaces and observational landscapes.

Am Anfang is a title that Kiefer has bestowed upon several of his most epic and ambitious works, ranging from a vast image of the ocean strewn with a solitary leaden ladder (Jacob's Ladder) in a painting of 2008 to an entire opera that he devised in 2009 for the Opéra Bastille in Paris.

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

Working outwards from this moment, the exhibition traces several related phenomena: the artistic innovations of poured paint and stained raw canvas; the social implications of decoration; authorial control vs. materiality; the body and painting; and the image of the woman painter and related questions of gender and identity.

Just as Murray constructs her paintings of many panels, she forms her drawings, most of which are large scale, from several sheets of paper that have been cropped to conform to the irregular outline of the image.

Reflecting these repetitive rituals, the relentless recording of self and the multiplicity of media images, Brice incorporates offset printing techniques on a variety of surfaces in the paintings, allowing for several versions of the same motif.

Also in the booth are several of Ms. Mishima's collage - paintings from the 1960s, which include texts and images in both Japanese and English, creating a cross-cultural, East - West mash - up.

Several Lake George images were inspired by Diggory's research for an essay on the painting locations of the 19th century painter, John Frederick Kensett, which was published in the December 2014 Metropolitan Museum Journal.

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

It's one thing to paint images of «the other», and it's another to paint scenes that refer to art history, but when the two are combined, the viewer is forced to contemplate each piece on several levels.

The installation also includes several images of Annunciation paintings, showing Eija - Liisa's direct engagement of significant art historical works in a contemporary fashion.

In «Yellow Wall», for example, an image Carnegie has used several times, of a path vanishing into a leafy tunnel, is dissolved almost to abstraction in a mass of chartreuse paint, trowelled on in great gobs, squeegeed and gouged.

After several years of figurative painting, these paintings are Syed's attempt to erase the image and allow the paint itself to become the subject.

Spanning several generations, these five artists challenge the notion of the canvas as a flat surface for painted images.

Rather than being derived from a collage of several images, some of Wood's paintings are based on a single photograph.

1967: Richter paints several new subjects like Corrugated Iron, Tubes, Doors, Photo Paintings of pornographic images and his Large Curtain [CR: 163 - 1].

«She's really determined to paint the abstract image,» gallery owner Lawrence Markey said of Frecon, whose work is represented in several prominent collections, including the Museum of Modern Art, the National Gallery of Art and the Whitney Museum of American Art.

For World Wide the artist created a process, repeated in exhibitions at several other museums, by which he enlarged images and details from his paintings and screened them on transparent sheets of vinyl, hung so that they surround the viewer.

For her third solo show at the gallery, Alonzo unveils several paintings using molding paste and piped acrylic paint in the form of pixels to create the images which are surrounded by frames made from tiles.

Hantaï's process entailed knotting a loose canvas in clumps on the floor, painting it in one of several monochrome colors, and then flattening and stretching it, revealing a dramatic image.

After several years assembling hanging installations of two - sided figurative paintings, Mastrangelo has recently returned to wall - mounted work in a series of impressive figurative... read more... «IMAGES: Susan Mastrangelo»

As Colen progressed in the series, painting several iterations of the same animated frame, the image became successively less coalescent, the rendering more individuated and further from the idea of the perfectly blended oil painting.

One room presents several collaged panels made with scans of Smith's previous paintings, their colors warped and modulated, along with layers of silk - screened images and newsprint.

Perhaps sensing that she had reached an ultimate image, much as her near - contemporary Ad Rheinhardt had, she stopped painting for several years before returning to grids that were even more subtle in making thin, straight parallel lines that shimmer, and thus evoke a spiritual experience outside of themselves.

Esopus 21 includes artists» projects by Stephen Eichhorn, Penny McCarthy, Thomas Nozkowski and Leslie Wayne; an essay on the design of the 9/11 Memorial by architect Michael Arad; poems by Chantal Bizzini; a new installment of the «Modern Artifacts» series, copresented with the Museum of Modern Art Archives, and featuring documents related to the never - published second issue of Possibilities (edited by Robert Motherwell and Harold Rosenberg); photographer Dennis Stock's images of the 1954 world premiere of Judy Garland's A Star Is Born; an interview with playwright / filmmaker Kenneth Lonergan relating to his childhood fascination with science fiction; pages from the late Austrian artist Otto Meuhl's sketchbook featuring drawings based on Cézanne paintings; and several perspectives on the African art collective Invisible Borders: an essay by Emmanuel Iduma accompanied by a photographic portfolio; and a downloadable audio compilation of music and sounds curated by Emeka Okereke that relates to the collective's 2012 road trip.

Several works of the latter sort will be on view in the current exhibition, including large - scale canvases that feature collaged photographs of other fans» paintings of Winehouse embedded in monumental geometric forms, or alongside magazine and picture book images of birds, planets, cannabis leaves, and architecture.

Painting several comparative images is a profitable way to begin to understand the concept of content.

While several early images came from her own interest in painting common objects from the studio, such as the television itself or a lamp, this exhibition concentrates on images of war and the power (or lack thereof) of mediated representations.

The Notebook series (2003 — 2011) consists of collages of found images, layered on top of one another, which have provided the source material for several of Winters» recent paintings, and which affirm the enduring tension between abstraction and representation throughout his work.

At Zevitas, several discrete paintings, all on unstretched canvas, accompany the installation, and in one, «circumjacentoffsetloweredgeredorangeochergray,» the same color scheme arises in a jittery patchwork of images.

Since 1986 he has been recycling sad old jokes — like «I never had a penny to my name, so I changed my name» — through several series of paintings, «redrawing» cartoons the way he had been «rephotographing» idealized images taken from furniture or Marlboro Man ads in magazines.

The paintings are executed in oil, built up with many layers of luminous color, including bright yellow, red, and several different blues, in addition to black and white, pale gray and subtle white - on - white works, where shadows are an integral part of the image.

Taking clear, good quality pictures at several different angles can help paint a clearer image of what happened at the time of an accident.