Sentences with phrase «than life portraits»

Many in the mainstream may know Odutola's work from the set of Empire, but for the past several years she has carved out her own lane with her larger than life portraits that beautifully render her often anonymous subjects with style and grace.

So, they don't have fancy carpets and larger than life portraits of designer animals on their walls — so what?

Titled Benefits Supervisor Sleeping, it illustrates a larger than life portrait of a Job - centre worker.

Not exact matches

«I calmly let the fire burn, for I see that what is consumed is only the fanciful portraits of Life - of - Jesus theology, and that means nothing other than «Christ after the flesh.»

If, in a portrait so produced, the lines of the subject have been made rather sharper than reality and the contrasts somewhat more vivid than life, it succeeds as no photograph could in eliminating the irrelevancies involved in all events in time, and highlights the essential, enduring meaning.

He paints most days to make up for lost time, concentrating on portraits rather than still lifes or landscapes because he likes to capture the inner spirit of a person.

It includes more than sixty works, including paintings (still life, portrait, and landscape), sculpture, furniture, and decorative art.

It sticks firmly to a Kerouac - lite immersion into young love rather than a more provocative portrait of the hazards inherent to modern urban life.

Living in the Material World finds plenty to say, though, particularly in the final two hours, when Olivia Harrison's honesty contributes mightily to Scorsese's portrait of an artist more interesting than some of us may have realized.

The other, JR, is a semi-anonymous French street artist known for public art — larger - than - life photographic portraits posted on streets, buildings, and border walls — that gives a voice to the voiceless at the intersection between the personal and the political.

Pappi Corsicato's Julian Schnabel: A Private Portrait unfolds with no less ambition than to enshrine its titular figure as a mortal god whose life has been so blessed and meaningful that, it would seem, he's never made a false move.

The actress more than holds her own opposite living legend Daniel Day - Lewis, painting a human portrait of a woman whom history has maligned to «that crazy lady» status.

CHAVELA — Centerpiece Documentary Directed by Catherine Gund and Daresha Kyi This larger - than - life portrait showcases one of the toughest, most talented singers of her generation, the iconic chanteuse and sexual outlaw Chavela Vargas — a favorite of filmmaker Pedro Almodóvar.

Fortunately, Sally Field's performance in this evocative portrait of small - town life is a good deal more subtle and restrained than her notorious Oscar acceptance speech.

Is there any more powerful or moving portrait, for example, of a loving family facing the vicissitudes of life and surviving the relentless march of change than director John Ford's «How Green Was My Valley?»

What follows is a stylishly decadent voyeur's delight: As if paying retribution for the understated tone of his previous films, director John McNaughton (Henry: Portrait Of A Serial Killer, Normal Life) fills Wild Things with group sex, gratuitous nudity, graphic violence, an abundance of authentically sweaty Florida atmosphere, and more plot twists than a season's worth of Melrose Place.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Taking on the considerable task of directing, writing and starring in his film, Everett lavishes great care on a subject he clearly holds in high esteem, and to his credit, does not shy away from painting a less - than - glamorous portrait of an aging Wilde, syphilitic and lecherous as he lives out his exile in Europe following his scandalous imprisonment for gross indecency.

Less a movie about the inner workings of politics than a biography, Citizen Kane is a portrait of the kind of American icon who seeks power in all the arenas of American life — through wealth, fame, the voice of the media and the votes of the public.

The treatment also makes the movie feel more like a portrait of life in Sweethaven than a tale about Popeye, even if he's often at the foreground.

«Darkest Hour» is history made drama; a portrait of a leader both larger than life and utterly human.

While it may not exactly change your life, «Lost in Translation» is a smart, stylish portrait of a romance that never happens, with excellent performances and a message delivered in restrained whisper rather than Hollywood shout.

Not since the days when Charles Laughton boldly etched larger - than - life portraits of real - life characters like Henry VIII, Captain Bligh and Rembrandt on film have we seen a performance quite like this.

I teared up during one rapid - fire mosaic of life with Marley that was neither particularly sad nor joyous in what it depicted but moved me with its beautiful portrait of life concentrated into a list of things we do, but also made more than the sum of that list, too.

But when it comes to the satirical portrait of American suburban life and the hypocrisy of adults more concerned with the appearance of morality than the real thing, Ball resorts to shrill caricatures of human behavior so exaggerated that you can't miss the rampant hypocrisy on parade.

There is no denying the ambition of The Tree of Life (Fox), Terrence Malick's portrait of one boy's education growing up in Texas set against nothing less than the origins of life in the univeLife (Fox), Terrence Malick's portrait of one boy's education growing up in Texas set against nothing less than the origins of life in the univelife in the universe.

Rush plays Giacometti like one larger - than - life character, a creative curmudgeon and perfectionist who consistently labours over his work, often starting, scrapping and re-starting a portrait in order to delay disappointment and other negative emotions.

Bigger Than Life (Criterion) Ostensibly a drama about prescription drug misuse and abuse and drawn from an article in The New Yorker, this portrait of a grade - school teacher and middle class father (played by James Mason, who also produced and helped develop the project) is as much about adult male masculinity and responsibility as a husband and father, and the pressure on him to live up to the ideal, as Rebel Without a Cause is about the emotional realities of being an American teenager.

Although more than $ 32 million was pumped into this kaleidoscopic portrait of American life in 1906, RAGTIME is too long, too splintered in its characterizations, and too much of a good thing squeezed dry.

Whether it's through a perfectly - timed photograph, or through bringing a portrait to life with nothing more than pen, ink, and paper, Kelsey has an extraordinary ability to capture a cat's personality.

Static portraits and voice acting aren't at fault here; SMT IV just makes the story far more important than the people living it.

But these portraits, brought together for the first time in more than 300 years, are two very touching documents to the life of one man with a singular talent for seeing humanity in the everyday.»

By painting the figure and the object on equal terms, Pearlstein's paintings appear to be more like still life compositions than formal portraits, and some critics even consider his work to be a form of abstraction.

His photos of the day - to - day life of gangs in the Bronx and the radical black liberation movement the Black Panthers are much more than a documentary illustration of a given period in time: they represent an insider's view, one which paints the portrait of the contrasts in American society.

The larger than life - size portraits appear to be featureless black and white silhouettes upon first glance, but as the viewer becomes more intimate with the image, each woman's individuality unfolds in the rich textures and skin tones barely visible.

In 2015 Kagami presented an «intimate portrait session» performance as part of the Live section of Frieze London; the performance drew an audience of more than 2000 visitors over the course of four days and involved the artist creating fictional portraits of each visitor's penis or breasts.

But in the background of this stunning tableau, if you meditate closely on the painting, you will see a portrait of a powerful, other - worldly female figure, almost larger than life, with large bright eyes, wearing a turban, sharply observing everything, as if she herself were keeping all the other elements in balance, in some mystical powerful way.

Rather than following the development of Rackliffe's oeuvre chronologically, the exhibition will explore various bodies of work that define the artist's output, including: Early Works; New York City; Maine Landscapes, Still Lifes, and Self Portraits.

Emsley's signature style foregrounds his sitters against a dark background, using large canvases, close - ups and his meticulous technique to make his portraits seem more real than life.

It includes more than sixty works, including paintings (still life, portrait, and landscape), sculpture, furniture, and decorative art.

On an opposite wall are larger - than - life present - day portraits of the three featured artists, hair grayer, faces etched, but eyes retaining the same spark.

The early works, such as Botticelli's Virgin Adoring the Sleeping Christ Child, which has not been exhibited outside of Scotland for more than 150 years, are religious paintings while later works from the Renaissance masters, 17th - century painters, Impressionists, Post-Impressionists, and Cubists include different genres of paintings such as portrait, still life and landscape, and represent the changing treatment of those genres over time.

Among the highlights of the show are The Sun (1990), a floor installation of 360 triangular elements of white marble forming a grand circle, and the witty Self - Portrait (c. 1959) in which the artist's head is but a small ball of paper resting on a larger - than - life wooden torso with incredibly elongated legs (both works at Perry Rubenstein); the ethereal The Angel (1989) made of 125 spheres of thin clear Venetian glass delicately resting on the floor at Michael Werner; and at Mary Boone the five Concave Figures (1994), one of Byars» final works.

Here, in a 30 - second time lapse that condenses about six full hours of work, The Broad's crew leaps into action to get one of the larger - than - life self - portraits ready for their red - carpet debut.

Rembrandt painted more self - portraits than any other artist of the period, creating a kind of visual diary of his life until his death aged 63.

In between, we discover paintings on canvas and ink drawings of larger - than - life heads, full - length nudes, Ms. Dumas's daughter as a young child, raunchy strippers, political commentary, and more, from early experiments with a variety of conceptually based approaches to an idiosyncratic, continuing series of portraits of «Great Men.»

At Jack Shainman Gallery, New York, stands Hank Willis Thomas's Larger than Life (2018), a stainless steel bust (though the face, cut off just above the nose, isn't recognizable — this isn't a portrait).

For more than twenty years, Mark Manders has developed an endless self - portrait that has taken the forms of sculpture, still life, and architectural plans.

She'll introduce herself, take their photos, then work from those images in her studio to compose larger - than - life portraits set against fantastically textured streetscapes.

A working artist for more than seven years, I managed to create a series of figure drawings, landscape paintings, graphite portraits and dozens of still lives.