Sentences with phrase «style as a painter»

Not exact matches

street style Location: The Grove Shah (left) / 30 / Colorist Outfit Details: Top: Vintage Jeans: Dsquared2 Shoes: Fendi Instagram: @bshahk «As a painter, I love colors.

The film's animation alternates between black - and - white flashbacks and present - day color sequences to recreate some of Van Gogh's most famous canvases, going so far as to emulate the Dutch painter's groundbreaking thick - brushstroke impasto style.

«Robert Bresson began as a painter and, while he would rarely practice the art, it was a guiding force in the development of his unique film style.»

The film mimics the painter's soft and impressionistic style as it relates the events of his tormented life secondhand through imagined conversations with those who knew him during his life.

With a slick, air - brushed, 1980s fashion style seemingly swiped from the works of painter Patrick Nagel, this animated series spoofs cop shows such as «Miami Vice.»

However, for those familiar with the great painter's works, as well as the prevailing spirit of the Era of Enlightenment and the style of the other great artists of various mediums who used their craft to comment on the blights of the world around them, Goya's Ghosts speaks on a level that transcends just the story of two men looking after the welfare of a young, unfortunate woman caught up in the hysteria of power that marked the end of the Spanish Inquisition's stranglehold of power, as well as the outrageous hypocrisy in their manner of governance.

It's a style that plays on the actors» physicality rather than on their expressiveness; significantly, Bresson (also a former painter) refers to his actors as «models.»

You will love the quality and the style of this home interior design as well as the Louveciennes and Bougival villages, home to the famous Impressionist painters.»

The shingle - style architecture, all twists and turns and gables and porches, is incurably romantic, though interiors are also impressive, as they include a prominent collection of art from early in the 20th century, including works by William Wendt, Jean Mannheim and other air painters who put Laguna Beach on the map.

Colin Campbell Cooper was one of America's most important Impressionist painters, refining his style as he visited important cultural landmarks around the world.

Pennsylvania, United States About Blog Taryn Day's style of painterly realism is inspired by the work of modern painters who combine realism with a strong emphasis on abstract design, such as Richard Diebenkorn, Fairfield Porter, Edwin Dickinson and Edward Hopper.

Recurrent throughout 8 Painters are stylings on past painterly marks and movements, not so much placed in quotations as absorbed into a work's facture... It's a hopeful sign that the artists in [the show] demonstrate a critical distillation of influences that inform their particular sensibilities, philosophical outlooks, and relationship to materials — not making any great claims, just proceeding in a personally deliberate way.»

From the legendary sculptor, Sabina von Steinbach, in the 13th century, who, according to local tradition, was responsible for South Portal groups on the Cathedral of Strasbourg, down to Rosa Bonheur, the most renowned animal painter of the 19th century, and including such eminent women artists as Marietta Robusti, daughter of Tintoretto, Lavinia Fontana, Artemisia Gentileschi, Elizabeth Chéron, Mme. Vigée - Lebrun and Angelica Kauffmann — all, without exception, were the daughters of artists; in the 19th century, Berthe Morisot was closely associated with Manet, later marrying his brother, and Mary Cassatt based a good deal of her work on the style of her close friend Degas.

But his «painterly» style — with its emphasis on the visible mark and texture of paint - as - matter — resonated most powerfully with the Venetian oil painters, such as Giorgione and Titian.

After gaining recognition as Abstract Expressionist painter in the late 1940s and 1950s, Alfred Leslie's long career includes works in many styles and media, including photography and film.

Roger Brown, a leading painter of the Chicago Imagist style, whose radiant, panoramic images were as passionately political as they were rigorously visual, died on Saturday at Piedmont Hospital in Atlanta.

These works gained him international recognition as one of the first painters to develop a new style of postwar abstraction, and he was eventually associated — despite his rejection of labels — with such movements as tachisme, art informel, and action painting.

Krasner comes across as the more restless of the two painters, moving from the flat, interlocked shapes of «Lavender» (1942) to the dense, peaked brushwork of «Noon» (1947); Lewis seems to hit on his mature scuffed - and - scumbled style without much deliberation.

As a painter, Fairfield Porter forged a distinctly American vision out of two disparate styles: the first — intimate, sensual and representational; and the second — colorful, gestural and abstract.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

A painter found an idiom that resounded with critics and public and stuck with it, but Sterne, as she put it, never had a logo style.

(She also links the birth of the Mungnimhoe style to a traumatic period of Korean history, noting that the Ink Forest painters grew up under Japanese occupation and that for them «ink painting was an opportunity through which to free the mark from what its members saw as the obligations imposed on it via the dominance of nihonga, the body of paintings made according to traditional Japanese artistic conventions.»)

This group of exclusively male artists were often referred to as action painters, a term coined by Modernist art historian Robert Rosenblum, referring to the abstract, gestural painting style.

Some of the main painters of these styles, such as John Singer Sargent, William Merritt Chase and Kenyon Cox, served a big indirect role within the Ashcan School as all of its members sought to paint in a perfectly opposite style from their highly polished work.

Describing himself as an «American painter of signs,» Indiana has developed a bold, graphic style inspired by road signs and billboards, reflecting his interest in Americana.

Richard Phillips by contrast is a contemporary painter, who pushes the medium to its limits by choice of provocative themes, a unique painting style as well as by the sheer intensity of his gigantic compositions.

Because the truths the painters of this movement were putting on canvas were inner as much as outer, emotions as well as observations, each offers his or her own style, and Mozart & Miles is as individual as it is original.

Probably no other twentieth - century American figurative painter developed as singular a style as Alice Neel.

Frowned upon by generations of art historians as the last expression of irrationality (as opposed to perfect perspective) the primitive painters played a pivotal role in bridging Medieval styles with the resurgence of classicism characteristic of Renaissance artists and architects.

Dealers like Leo Castelli, Ileana Sonnabend and Mary Boone championed artists such as David Salle and Julian Schnabel, whom critics labeled Neo-Expressionists, and whose style appealed to a growing art market willing to pay large sums of money for young painters.

WHAT IT IS: $ 627,000 AIM: To foster contemporary figurative art, as in the style of the late Russia master painter Arkady Plastov ELIGIBILITY: Any contemporary artist working in the figurative style.

We thought it would be interesting to take another look at the work of the post-war figurative painters whose style collectively became known as the School of London — Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, David Hockney, Howard Hodgkin, Leon Kossoff and R.B. Kitaj — but open up the narrative both in time and in terms of the artists included.

Of different generations (with at least one in between them) these two painters embody «style» as an ideal.

By the beginning of his professional artistic life in the late 1930s, Pasmore had quickly established himself as an assured painter of lyrical landscapes, figures and still - life studies in a style that drew upon his familiarity with the work and writings of a number of post-impressionist masters such as Pierre Bonnard.

Brown, now a painter living in America, combines the nude model as subject with a style of left - over Abstract Expressionism.

Such a marked departure from Warhol's usual operating procedures is present in the surface style of the works as well, where the noticeable brush work, laid down before the screening of the image, is deliberately referential to New York School painting, in particular to the style of painters such as Franz Kline and Willem de Kooning, a painter whom Warhol himself has referred to as a model.

They bear the influence of her daily surroundings, as well as an ongoing exploration of painters who weren't afraid to experiment with styles that border on the impolite and ragtag.

Often characterized by contemporary critics as a sort of modern - day Jean Auguste Dominique Ingres, Tamara de Lempicka was the lone traditional easel painter in the entirety of the Art Deco style.

He defined himself as a figurative artist who went through Abstract Expressionism, Geometric Abstraction and a number of other styles of painting, but who had always been a figurative painter because his greatest interest was in people.

He gains a sense of inherent classicism and security from using familiar symbols, yet only with unceasing concentration and focus can a painter's style be used as a tool to give form to abstract reflection, and that still requiring a callous inhibition of ever ‐ present, hovering uncertainty.

Any painter able to qualify for a post at Yale was bound to possess a recognizable way of working, as did Tworkov himself, having just exchanged his earlier style for his later one — a change he may have made to avoid the dangers of stylistic routine.

On the one hand his unfailing repetition of the same still life motif recalls the notion of style as subject matter which inform the «generic» abstractions of painters such as Sherrie Levine and Tim Ebner.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Castelli had included Rauschenberg in Today's Self - Styled School of New York (commonly known as the «Ninth Street Show»), a seminal exhibition in the development of Abstract Expressionism that he organized with painter Jack Tworkov (1900 — 1982) in 1951.

He was a pupil of Richard Wilson and was best known in his lifetime as a painter of Welsh and Italian landscapes in the style of his master.

Aleksandra Aleksandrovna Ekster, also known simply as Alexandra Exter, was a Russian painter of the Cubo - Futurist, Suprematist and Constructivist style.

In other news, a recent article in Vogue Italy celebrates Heffernan's fantastical style as a modern homage to 16th Century painter Giuseppe Arcimboldo (pictured below), worthy of sharing wall space in the Palazzo Reale's current Arcimboldo retrospective.

The influence of Guston's work, in particular his late paintings, continues to «cast a long shadow over the current landscape of contemporary art,» as Peter Benson Miller acknowledges in his recent publication.1 Because Guston was one of the few American painters to «defect» to Europe — both by undertaking numerous residencies, as well as departing from the quintessential Postwar «American style» — his significance is especially pertinent within a contemporary European context.

By the end of the 1980s, Caulfield's style would seem the antithesis to oh - so - earnest British painters of drab figurative existentialism such as Stephen Conroy, Leon Kossoff, Frank Auerbach and Lucian Freud, or the macho neo-expressionism of Julian Schnabel and Francesco Clemente in the US.

His early landscapes, portraits and still lifes were characteristic for their dark palette, but soon his style became distinguished from pictorial elements and by 1950 he considered himself as an abstract painter.