Sentences with phrase «than flat paint»

With a bit more luster than flat paint, eggshell enamel offers superior scrubability to completely flat finishes.

Use it in an Eggshell finish which is more easily cleanable than a flat paint.

It's easier to clean than flat paint, but doesn't have the sheen that gloss has.

My painter (because I was pregnant) noticed that the eggshell paint I purchased for my daughter's nursery was darker than the flat paint sample I had on the wall.

Stain or low - lustre finishes offer more warmth and depth than a flat paint.

Remember: Higher sheen paints tend to offer more durability than flat paints, so use them in high - traffic areas.

Not exact matches

The results paint a familiar if less than hugely flattering portrait of human nature.

Decorum and good business sense make it unlikely that Rembrandt would have painted paying customers in a way that was less than flattering.

The company says that the solar cylinders — paired with a roof painted white to better reflect sunlight — can collect 20 percent more sunshine than their conventional flat counterparts.

The city has also launched several programs to turn down the climate's thermostat, such as the Million Trees project (more than half a million have already been planted around the city) and painting flat roofs with a white or «cool» coating that reflects the sun's energy.

Painting atomically precise carbon nanotubes onto a cathode produces flat panel lights a hundred times more energy efficient than LEDs.

If I was buying paint I would pick flat but it is not required, although I wouldn't use anything shinier than satin.

These brands are not sold in quarts, but gallons of flat paint are less than $ 20.00.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

It's not so much an issue of she and Damon not having chemistry — and let it be known that together they are as exciting as watching paint crack and peel — than it is her performance in general (though she can cry on cue very well): stiff; robotic; flat as her body.

Maybe she hoped the paintings of her would come out more flattering than they did.

Although the keyhole operates as a flat shape — rather than a portal, or hole into another space — this motif, when it becomes a surrogate for the human figure, introduces spatial depth in Manister's paintings for the first time.

The paint handling is soft; the surface of the linen is rubbed or scraped flat and smooth, but the color is dappled rather than flat, which lends a slightly nocturnal or surreal cast - these may have been painted by day but they were conjured by night vision.

So he is able to tell his somewhat patronizing guide, the French critic Pierre Schneider, to see Uccello's The Battle of San Romano as a modern painting, a flat painting, and to explain why Mantegna's Saint Sebastian bleeds no more than a piece of wood despite being pierced with arrows.

When I first saw Katharina Grosse's paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat — that they looked better on the computer screen than they did at the gallery.

I capture more truth in a painting than anyone wants me to reveal, and that's not necessarily flattering.»

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

It opens to anything... Actual space is intrinsically more powerful and specific than paint on a flat surface» (D. Judd, «Specific Objects», Arts Yearbook 8, 1965).

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

He rendered them with flat, everyday house paints, rather than oils.

More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.

There are smaller paintings than this, some of theme equally concerned with the process of painting, and with the «deliberately accidental», Callum Innes «s words for the process he adopts of dividing the canvas into two, painting a quarter with a flat colour leaving the other quarter exposed, and then taking the same colour and applying it to the other half of the canvas before «unpainting» it by rubbing it off with turpentine, leaving a ghost of the original colour.

It looks as if he paints the stripes with a flat brush, sans tape, so the ever - so - slight line variations within each stripe combine to generate many more visual watts than hue or color placement alone could do.

Nor do I think, like Sam, that «Red Label» is a flat image; I think it has, along with quite a bit of Smith's very early, freely - brushed but clearly structured work of the late fifties, more spatial «life» in it than much of the stuff that came later, work that attempted to wed painting to literal three - dimensionality.

The surface of Goltzius's Hercules and Cacus appears as flat as the Giotto, and it takes a proper look to confirm that the copies are painted rather than screen - printed.

These painting - strata remain distinct from each other, rather than resolving into one cohesive and flat picture - plane.

The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.

If Marshall's work considers the erasures of history, Casteel's is very much set in the present tense (though her paintings are less a literal transcription of real life than they may seem: «I like to think of them as being able to wobble in and out of these flat and hyperrealistic spaces»).

As in LaRiviere's painting, images frequently appear flatter and shallower than those that are painted to appear as if they were observed in the real world.

Along with others active at this time, these three artists questioned, for example, whether a painting had to be a flat, rectangular object mounted on a stretcher, affixed to a wall, and viewed from one vantage point; that paper was only a surface to be painted, printed, or drawn on, rather than a medium for creative manipulation in its own right; or that there was only one way for a work of art to be installed.

From these objects he then transitioned to the early reliefs where the work projects off the wall and is less a flat painting than a three - dimensional object confronting the viewer.

And his numerous late series of flat, hard - edged geometric abstractions on multiple aluminum panels — exploring the cardinal points, New York City and the times of day — confirm Palermo to be a genuine painter who can push abstraction's economy of means to the point that his imagery resembles little more than signal flags yet still engages as serious paintings.

Painting as more than strictly a technique, but an attitude, as in Wächtler, a way of welding a certain type of depth or ambience beyond the canvas, was abundant also in a group exhibition curated by the artists Anna Lucia Nissen (b1985, Berlin) and Alex Rathbone (b1987, Middlesex, UK) inside their Schöneberg flat.

Though superficially flatter than any painting, there are also photographs in this exhibition that, through their precise representation of pealing paint (for example) rival the tactility of the most dimensional de Kooning.

Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.

What Zhang tries to do through painting is no less than reconstructing «humans» and reinvigorating faith in an era overflowing with concepts such as «Super Flat» and «Cool».

Greenbergian thought says that painting should be the story of the painting's own making, and that part I agree with — it's that kind of flat - footed... but I would say that somebody like Mary Heilmann, who started out in craft, is more of an influence on me than Greenberg's criteria — just her play it as it lays, put it down here, one - two - three, without any trickery.

The piece is Naming the Money (2004) and the figures taller than I am (I'm 5ft 5in), painted on flat wood like exuberant scenery.

The entertaining anecdote that has Titian advising Venetian dignitaries en route to Bergamo to have their portraits painted by Moroni as he made them look natural, although apparently flattering, was in all likelihood a gibe directed at a provincial painter who deviated from canons of portraiture governed by etiquette rather than the attempt to embody a living person.

Hafif, who has engaged for decades with monochrome painting, recalls painting a still life while studying with Richards Ruben: «I began using a single color and digging into it and making a kind of radiating form, treating it plastically rather than as flat.

Rather than painting thickly with opaque paint, Frankenthaler used oil and then later, acrylic paint, thinly like watercolor, pouring it onto raw canvas and letting it soak and stain the canvas, flowing into shapes of flat translucent color.

A small retrospective of Ms. Jaffe's large - scale signature paintings — of her ebullient, flat geometric shapes, lines, blobs and squiggles on generous white grounds — confirms that she has been successfully mining hard - edged abstraction for more than 40 years.

The paint textures, which I find generally less interesting than Bush's, seem (perhaps by design) to be lifeless and flat.

As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic.

Viola Frey's larger - than - life sculptures in turn raise issues of gender - stereotyping, something that the renowned ceramicist had to experience personally; and after having worked on it for ten years, Jay DeFreo created a painting that weighed over a ton and had to be lifted from his flat with a crane with «The Rose».