Sentences with phrase «then figure painting»

And the next year it's still life painting and then figure painting.

Not exact matches

Before your baby arrives, get the basics set up in the room — paint the walls, get a crib, and figure out storage — and then go back later to add masculine or feminine twists to give the nursery a more personal feel.

I figured when I came across a piece of furniture that screamed to be painted as a British Flag then I wouldn't hesitate to start the project.

The doors came off (hubby wasn't too excited about that part of the project, because he didn't have a place to store the old closet doors, but we'll figure that out this spring — for now they are in the garage), and then we started to paint.

In New Leaf, some villagers may tell the player that they have met a «red figure» in the train station, referring to Crazy Redd, then telling the player they bought a painting from him.

It ain't exactly pretty - but, then, the figures below don't always paint an accurate picture for the world of documentary.

No they do not these are just figures with added paint and parts to make the figures look cool if they were going to look like this in the game then you would have to work with Disney infinity.

LG: After graduate school you painted perceptual still life and then you switched to figure paintings...

Although casual viewers may not notice it at first, nearly every figure in Drexler's paintings consists of a photographic reproduction glued on to the canvas and then overpainted so that what we see is not the reproduction but Drexler's version of the image.

Figures come and go, with almost cartoon outlines, culminating in the semicircle of Attic and then his largest easel painting, Excavation.

I'll make a figure painting, a little figure painting, then I'll think, «oh, well that one would look like something possible if I could put it with this other figure painting that I've also done from observation, and then some grouping and / or narrative might emerge in pairing the two».

RD: And then I could never understand the people who would I'm sure honestly say — painters — would say that abstract and figure painting, or abstract and representational painting, it's all the same.

But it does seem interesting, for example, here we have a painting from 1964 with a green figure, and then, in the current show there is a recent painting, also with a green figure.

Tompkins was an important figure in the photorealist movement of the 1970's but largely overlooked due to the fact that she was a woman making large - scale paintings of heterosexual intercourse, imagery that until then had been reserved for male artists and viewers.

Then, one day, I was thinking about abstract painting again... Then, suddenly, I abandoned the figure altogether.»

Between 1946 and 1950 he shuttled between Paris and Le Cannet on the Côte d'Azur, and then settled in Paris for almost a decade, painting often in monochrome like Jean Dubuffet, some of the canvases worked edge to edge with figures suggestive of the then recently discovered drawings of the Lascaux cavemen.

When he was a young man in West Berlin, having crossed over from the East, Georg Baselitz initially painted stunning monumental patchwork portraits of life among the rubble and then, in the «70s, became an international sensation by painting expressionistic figures upside - down, an aesthetic gambit that to many suggested the topsy - turvy nature of life in postwar Germany.

It was me creating my early paintings and then figuring out the arc of a particular character.

Here the artist seems attentive perhaps to one of de Kooning's aphoristic gems that may be paraphrased as: first it seems crazy to paint a figure, then it seems crazy not to — originally a gauntlet thrown at the feet of Clement Greenberg and his one - way avant - garde.

I've yet to figure out how I'm going to do it, but the plan is to visit the Scottish National Gallery of Modern Art's «Bridget Riley: Paintings, 1964 — 2015» (15 April 2016 — 16 April 2017) and then head straight to the Bosch fifth centenary show at the Museo Nacional del Prado (31 May — 11 September 2016) for the legal high to end all others.

«Out of Sight» then proceeds chronically to present art from 1962 to 1978 and concludes by exhibiting four wooden sculptures and a series of seven vivid painting from her Days of the Week series by way of revealing Herrera's continued experimentation with figure / ground relationships and the architectural underpinnings of many of her compositions.

Baselitz did not paint the figure normally and then turn his painting upside down when he finished, rather he actually painted the figure upside down, a spatially disorienting method of working.

Then came «Matisse: The Fabric of Dreams,» at the Met in 2005, in which some of the richly patterned fabrics that Matisse used to fill and push forward the negative space between figures and furniture were displayed next to the paintings themselves.

Though senior figures have displaced Doig as the most expensive living European painter — first Freud in 2008, then Gerhard Richter, twice — he continues to command stellar prices, including $ 12m last year for «The Architect's House in the Ravine» (1991), another example of the early 1990s paintings based on memories of Canada that remain his bestsellers.

The depicted figures are not defined beforehand and then simply executed in oil painting, but are gradually developed in several layers, which are repeatedly sanded and painted over directly on the canvas.

At first, I juxtaposed traditional elements of miniatures into a new format, then I started painting modern figures using the miniature technique.

As students we were doing lots of things around our paintings while we were making miniatures: checking our colour palette and tools at the edge of the paper, trying out different kinds of lines while making the borders, even tracing figures then hiding them behind a thick layer of paint.

As objects, the paintings were flat and screen - like, and critics saw them as a calculated affront to the sensual paint handling of Willem de Kooning, the Abstract Expressionist who was then the senior figure of the New York School.

He has always been a contrary figure, emerging in the New York scene of the 1950s at the zenith of Abstract Expressionism determined to make figurative paintings, then continuing to follow his own, more painterly path while Pop Art swept all before it in the 1960s.

And then abruptly panning up above eye level to view the figurative paintings Figure 1 (1990) and Black Painting: Evander Holyfield (1992) with their penetrating male gaze a safe distance away.

MASTERING THE PORTRAIT; THE PAINTING OF ROSE «Placement of the figure, background, shadow and then light is the order of progress in our painting» says Gregg Kreutz in his new video, «Mastering the Portrait, the Painting of RosePAINTING OF ROSE «Placement of the figure, background, shadow and then light is the order of progress in our painting» says Gregg Kreutz in his new video, «Mastering the Portrait, the Painting of RosePAINTING OF ROSE «Placement of the figure, background, shadow and then light is the order of progress in our painting» says Gregg Kreutz in his new video, «Mastering the Portrait, the Painting of Rosepainting» says Gregg Kreutz in his new video, «Mastering the Portrait, the Painting of Rosepainting» says Gregg Kreutz in his new video, «Mastering the Portrait, the Painting of RosePainting of RosePainting of Rose».

Then you take a step closer, and the image gives way to texture — painted dots like beads that shape their figure's faces, fingers, Afros, breasts, or penis.

Roth was a seminal figure in Abstract Expressionism studying first in California under Mark Rothko and then Clyfford Still — both giants of post-war abstract painting.

Throughout her childhood, she spent Saturdays at the Art Institute of Chicago, taking figure drawing and painting classes, and then wandering through the museum alone, studying Seurat, Monet, Toulouse - Lautrec.

Angela de la Cruz's work is founded in the language of minimalism but she then tears her paintings off their stretchers to create tragic anthropomorphic figures which lie crumpled on the floor and peel away from the walls.

At the beginning, I try to capture the entire energy of the painting and then slowly the details and figures begin to reveal themselves.

The figures are reduced down to what could be thought of as their «essence,» if cartoons had essence, and then pushed outward again by Pensato's strong hand: Homer ’08 has the eyes, bald pate, and mouth recognizable to watchers of The Simpsons, but the texture and surface of the piece is all about painting and its visual engagement.

Shang Kuang, a conservator at the Hamilton Kerr Institute was cleaning a 17th century Dutch painting by Hendrick van Anthonissen owned by the Fitzwillliam Museum when she first stumbled on a figure standing on the horizon line and then uncovered an entire whale beaching on the coastline.

She then dots the figure with colorful epoxy resin, and finishes by layering on acrylic paint.

Sanditz comments: «Sometimes I make [the paintings] on location... And then I also sometimes work on the studies when I'm trying to figure out how to resolve something... Obviously memory and imagination are both a part of it — there are no faithful photographic renderings in the paintings, not that photographs are faithful either, but there's obviously a lot of interpretation and exaggeration in the work.

It took 29 years to carve the figure into the rock, and then, like all the sculptures in Mogao, it was covered with a mixture of mud and straw and finally painted with gold leaf and natural pigments.

And then on the wall behind the figure is the aftermath of the painting process, in which you work on the wall and at the edges of the canvas you end up with this sort of linear abstraction as a residue.

But it also elucidates the trajectory of an artist who began by recycling Japanese popular culture and then gradually figured out how to go deeper, harnessing Japanese traditions of painting, craft and spirituality.

«I like radically cutting into the painting, inserting these paper birds, and then trying to figure out how to believe in it.»

But then abstraction itself became an orthodoxy, and those who wanted to paint nature or the human figure found themselves swimming against the tide of earlier revolutions.

San Francisco based artist Zio Ziegler (covered here) has an eclectic style; a few of his pieces portray Cubist figures, some more detailed than others, and then there are his more color - based paintings.

Her paintings feature bright colors and figures appropriated from films and print media, which she cropped, enlarged and printed on her canvases and then painted over them.

My thinking and understanding is that in painting one begins abstract, with a welter of abstractions, be they formal, conceptual, emotional, sensory, psychological and then pushes towards the painting, which by definition becomes figured.

«If we went back, if we went all over the world and looked at every object, every statue, every painting that included a black female figure in any way, and wrote every title down, what would art's epic sing then?

«Abstract expressionism was the going style then, but Oliveira's lonely figures were painted in a new way, using vigorous brush work and finding the figure in the process of painting it,» Selz says.