Sentences with phrase «source images of the paintings»

The source images of the paintings have a familiar quality, as many of them are sourced from or reference current media and contemporary events.

The source image of this painting is included on sheet 10 of Gerhard Richter's Atlas.

Not exact matches

Check out the images below to see how this trend can be used throughout the house and then see some of my go - to black and white paint colors + tile sources to get the look.

Attendees will learn how to teach students to «read» a painting, and to understand the value of using art via digital sources, including the LGfL Image Bank.

I understand that Antonio Gramsci has passed away long ago, and so any attempt in painting an image of Gramsci would require an image of him from a sourced material.

The choice of a standardised format (70 x 55 cm) and source images similar in form underline the uniformity of the paintings.

Both the exhibition and the catalogue focus on Richter's paintings of the 1960s that are based on photographical source images.

These images are drawn from his imagination as well as a range of other sources and also manifest themselves across large paintings on paper, used domestic objects such as batteries, mops and Underground Travelcard receipts, and expansive wall painting installations involving the surrounding architectural elements.

The transference of the source material to canvas by inkjet printer adds an extra level of removal and manufacture to an already mass - produced image, with the Benday dots visible through the wash of paint clearly evoking Roy Lichtenstein's own transformative Pop appropriations.

In her work, Jeanette Mundt utilizes a broad range of cultural sources, ranging from the personal to found images to specific paintings from the historical canon.

In point of fact, every painting in the show is of content deemed illegal in the PRC, with the source images taken from websites currently blocked in the PRC, made by workers in the PRC.

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

Her paintings and drawings, often devoted to depictions of the human form, are typically culled from a vast archive of images collected by the artist, including art historical materials, mass media sources, and personal snapshots of friends and family.

This summer New Art Exchange in Nottingham, UK, presented Dub Versions, a solo exhibition of Anderson's new and recent paintings paired with related source materials to illustrate the artist's uniquely forensic approach to image - making.

Innerst broke onto the New York art scene in the early 1980s with exquisitely executed small - scale paintings with hand - made frames, and his works were considered part of the Pictures Generation of artists who employed widely varied images as source material culled from the expanding media of the pre-digital age.

This figure derives from an earlier painting, Wall Jumpers (2002), the source of which was a media image showing Palestinians scrambling over the separation barrier built by Israel in the occupied territories.

Adelman's legendary images include Warhol on the Factory red couch, shopping at a nearby Gristedes for Brillo Boxes as a source of inspiration, posing with his flower paintings, and Warhol on the floor with «The American Man» suite.

Known for paintings based on images he sources online, from animals and flowers to celebrity portraits (he was commissioned to paint the musician Lorde for the cover of her 2017 album Melodrama), Sam McKinniss is showing a new work based on an image of singer Lana Del Rey.

(group exhibitions) American Exhibition, Art Institute Chicago, 1961, 1962, Whitney Biennial, Whitney Museum American Art, New York City, 1968, When Attitudes Become Form, Kunsthalle, Berne, Switzerland, 1969, 100 Years of California Sculpture, Oakland Museum, Oakland, California, 1982, Language, Drama, Source, Vision, The New Museum, New York City, 1983, Philadelphia Collects: Art Since 1940, Philadelphia Museum Art, 1986, Disarming Images: Art for Nuclear Disarmament, Bronx Museum Arts, 1986, Boston Collects: Contemporary Painting & Sculpture, Museum Fine Arts, Boston, Master of Arts, 1986, San Francisco Lives, San Francisco Museum Modern Art, 1990, California Classics: Art From the 1960's and 1970's, Bayly Art Museum, University Vir., Charlottesville, Vir.

The panel of judges ruled that 25 of Prince's 30 «Canal Zone» collage - paintings fairly sourced images from Cariou's book Yes, Rasta according to the legal doctrine of «fair use,» which allows artists to employ other creators» imagery as long as they «transform» it into something substantively new.

He then had a quantity of screens made from images of all sorts — current events and daily life, science and art, photos he'd taken himself as well as ones lifted from sources such as Life and Sports Illustrated — and began combining and recombining them over the next two years into an extraordinary series of paintings in which the lightness and near - bodilessness of the silk - screen ink, with which he never had to struggle, gave the compacted iconography a persistent flash of instantaneity.

Based loosely on photographs of women sourced from fashion magazines, photo albums, pornography, and elsewhere, Joffe's paintings — juxtaposing thin, dripping washes with thicker oily passages — explore the notion that all appearances and images, regardless of how off - hand they may seem, are carefully planned and constructed.

Time Magazine included one on a recent list of the 100 Most Influential Photographs in the World, and artist Dana Schutz used it as the source image for «Open Casket,» a 2016 painting that has been included in the 2017 Whitney Biennial.

His list of connections is extensive and amusing: From a few odd comments Richard Prince made about Bob Dylan's Asia «work,» Prince's own discourse during a 2009 deposition on using pulp fiction book covers as image sources for his Nurse paintings, personal connections between the two and Bob Dylan's instinct to mess with journalists — as well as the fact that this work has nothing to do with the Bob Dylan we know — this could very well be just another staged rebirth of the artist.

It's noticeable, and telling, that in all of Rauschenberg's work, from the 1950s right through to the last painting on view here, dated 2005, he almost never uses his source materials sideways, or upside down, or diagonally; he always respects the given orientation of found images.

He made witty and original use of it and created a distinctive American style, for however abstract his works became he always claimed that every image he used had its source in observed reality: «I paint what I see in America, in other words I paint the American Scene.»

Choosing images generally experienced through second hand sources of information, Kahrs infuses his paintings and drawings with the drama of film, creating a sense of constant motion and closeness within a still and fragmented plane.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studio.

The paintings are faithful to their photographic sources yet freely recreated, the artist's meticulous technique introducing an aura of individualized craftsmanship into images that in most cases are as deeply familiar and as widely circulated as memes.

Huey sources her paintings from historic images, advertisements, postcards and photographs, and curator Jess Frost has included a selection of both found and created materials as well as collages that reference the process Huey uses in creating her phantasmagorias.

Through a range of image sources and her stage - like environments, such as gallery walls painted with Chroma Key blue paint used in film or TV studios, Hamilton explores our associations to surreal and seductive cultural imagery while examining the histories of art, film, and performance.

His early works in the 60s, painted from images sourced from the media, were parodies of the then - ascendant international styles of American Pop Art and the postwar culture and economic boom in West Germany at the time.

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.

For example, in the book that accompanied her painting Aqueous Flesh (2009), Pundyk reveals that her reference for the human figure was clipped from a newspaper, tree branches from a photo taken out of her family - in - law's New York apartment, facial features from a candid photo of a friend on vacation in Paris, and an abstracted version of two women sourced from an image in a waiting room magazine.

Yet the most immediate source for Rivers» painting is the more contemporary use of Rembrandt's image in the commercial sale of cigars.»

Other Warhol source images a photograph of an electric chair that inspired «Triple Silver Disaster,» which he created in 1963, when he was transitioning from hand - painted to mechanically reproduced pop, and a publicity still from the 1953 Marilyn Monroe film noir «Niagara,» cropped tightly and used to create his iconic «Marilyn» prints.

In 1963, Warhol began his series of Death and Disaster paintings that used images from magazines and newspapers as well as police and press photographs of suicides, car crashes, and accidents as source material.

paintings that used images from magazines and newspapers as well as police and press photographs of suicides, car crashes, and accidents as source material.

What / Why: «In these paintings Wardwell creates landscapes sourced from images of the Pacific Northwest and New England.

Tuymans often sources his images from around him; the act of appropriation is central to the artist's practice, as with fellow artists, Richard Prince, and Jeff Koons among others — Tuymans often uses his iPhone to appropriate an existing image, re-contextualising it in a painting.

Like his paintings, this photograph is composed of juxtaposing images taken from different sources — real life, torn magazines, advertisements, everyday culture.

As images of experiences and landscapes from around the world can be seen instantly on backlit screens and handheld devices, Wasmuht pulls from her own photography, various Internet - based sources and a meticulous collection of images from life, landscapes and nature as inspiration for her immersive paintings.

By contrast, Kellerbar has light from a single source illuminating a bare pub sign and a painted china spaten which, in their magnificent simplicity, conjure images of another world.

Her sources stem from images that freely circulate on the internet and her paintings take on a hybrid quality in which objects are placed in a limbo of distorted familiarity.

It's less a case of using paint to explore the binary of home / not at home, or to make a point about medium specificity, but to reflect on the hybrid identities that emerge from multiple influences, sources and images.

Combining images from different sources, Sikander creates densely layered paintings that transcend traditional notions of narrative to combine «overlapping commentaries on lived experiences, art history, and pop culture.»

Early on, she created a visual language of 276 categories by lifting images from printed sources — Girl Scout tourniquets, Mayan knots, invalids playing with puppets, medieval hats, her own face — that she mixed and matched in collage - like paintings that are by turns humorous, mysterious, nostalgic, and sly.

Later she shot images herself, and looked to a wider variety of sources for material, like Renaissance paintings and drawings in the case of photographed collages that she made in the early 1990s.

Whilst Lassry is successful in recontextualising this found imagery he never loses touch with its original source, the images never being displayed larger than a magazine spread and the frames painted to match the dominant hue of the original.

Working from anecdotal photographs, each painting is deliberately built up through multiple layers of translucent pigment, a crucial aspect to the recontextualization of these images, a process which effectively dissolves the spatial / temporal specificity of the photographic source, while retaining its pictorial trace.