Sentences with phrase «think of a great painter»

When I think of a great painter using pink, Philip Guston comes to mind; in his works pink becomes a subversive color.

Not exact matches

Thinking of Michal Williams, sitting alone in the apartment, and reading these poems, I suddenly thought of another twentieth - century disaster - marriage, that of the great painter Stanley Spencer, whose visions of Christianity led him to paint the general resurrection in the small - town churchyard of Cookham, and whose Christ was a working - class Englishman of 1930s vintage.

Think of the great artists of heaven: heaven's poets Dante, Spenser, Milton, Donne, Herbert, Vaughan, Traherne, Bunyan; or heaven's painters Fra Angelico, Luca Signorelli, Botticelli, Correggio, Van Eyck, Lochner.

If you just want to be the socialite darling, if that's what's driving you, I think your likelihood of being Truman Capote is greater; or Salvador Dali, who was an extraordinarily gifted painter in his 20s, but then hit his 30s and became a parody of himself.

Frequently pigeonholed as the last great English romantic painter in the vein of Constable and Turner, Hodgkin is more incendiary than that — a sunburst of an artist who exploded counterintuitively from a British visual culture temperamentally uneasy at depicting sensuality or expressing intellectual thoughts.

I think he was a great painter whose work weds powerful formal qualities with keen observations of human nature.

The younger painters in the show might humorously be thought the great - grandchildren of Dickinson's influence.

When one thinks of the great tradition of German painters, the works of Gerhard Richter, Georg Baselitz or Martin Kippenberger promptly come to mind.

People often think that a great painter has to have great brushes, and it's true that some of them insist on hair so fine that it could put the silkworms out of business.

I can think of few portraits in which a painter's absolute dislike of her subject is made more apparent than in the hatchet job she did on the great poet, curator and critic Frank O'Hara, whose liver - spotted bald head, bared teeth, and mad staring eyes are visible in no other portrait or photo of him I know.

With the emphasis on «impossible» and «negation,» Rubinstein is suggesting that the painter no longer needs to think about making a great painting, but simply «must go on,» as the voice whispers at the end of Samuel Beckett's The Unnamable.

PD I like to think of Polke first and foremost as a great painter because I believe his most powerful works are ones that were made within the language of painting.

Think of Ed Paschke, the great American painter who died in 2004, was a formalist in wolf's clothing, or the most abstract of Photo Realists.

But his portraits of the late 1940s and early 1950s, such as the one of Herbert Read, were not successful, and the big compositions, like Christmas Eve and Harbour Window With Two Figures, were only doubtfully so, though it is unlikely that Heron himself, a great protagonist for his own achievements as well as those of the other painters he admired (Matthew Smith, William Scott, Peter Lanyon and Roger Hilton foremost amongst the British) ever thought so.

What would that great painter of the sea have thought of Morley's recent maritime scenes, with their oceans and jokey ships, not to mention those 3 - D airplanes flying overhead, festooned with Suprematist insignia?

I think Jonathan Lasker was one of the great abstract painters to come out of the 1980s.

Albers worked in a discipline traditionally viewed as feminine, she was a student and ardent admirer of South American weaving, thought of as a niche interest in the US («I will be accused of crass one - sidedness in my feeling of awe for the textile arts of Peru») and she was married to Josef Albers, who achieved great fame as a painter in the post-war era ---- all these things perhaps contributed to her relative neglect towards the end of the twentieth century.

He is thinking about his place in the pantheon of great contemporary painters.

And perhaps — it occurs to me now, I never thought about it in these terms, one role that I played was that I formed another kind of bridge between Europe and the American painters: I seemed to be the only European actually - although I didn't have any official position, I was just a man about town — the only European really who seems to have understood them, and not only understood them, but really they were my great enthusiasm.

I still think that Bill de Kooning is one of the greatest painters in the world.

UMOCA and the Jarvis and Constance Doctorow Family Foundation give out the prize every two years to an emerging or mid-career painter whose work expresses a great range of talent and forward thinking within a contemporary idiom.

When I became a painter I thought, «Oh, this will be great, I'll never have to deal with the world, I'll just push the paintings out in front of me and I'd hide behind them.»

Recent art exhibitions in this gallery have included: Jack B Yeats «A thought of Sligo», commemorating the fiftieth anniversary of the death of one of Ireland's greatest twentieth century painters.

Published concurrently with an exhibition at New York's Knoedler & Company, this handsome volume — the cover of which features Frankenthaler's great painting, «A Green Thought in a Green Shade» (1981)-- pays tribute to the painter's long and distinguished career, with a fully illustrated survey of the works chosen for the exhibition, which represent quintessential paintings from each period of her career.

Seeing Rothko's magnificent color fields, deep, rich, ranging from joyous to tragic, with Marioni's words in mind, brought me to a greater appreciation of a painter whom I already thought I sufficiently appreciated.

John, I don't think the problems with painting are to do with greater competition — in fact I'm not sure there are that many good abstract painters around anyway — but to a lack of clarity about what making a properly abstract painting really means; whereas that seems to me to have not only clarified somewhat in abstract sculpture, but also, paradoxically, broadened out.

Many great painters exploit the undiscovered possibilities of their chosen medium — think of van Gogh treating brushstrokes like woodcarving, or J.M.W. Turner creating the illusion of space from thin washes of color.