Sentences with phrase «usually painted works»

Not exact matches

I challenge our team to infuse a little playfulness everyday even in a work environment, it can be while testing our products, team painting events, battling on old arcade games during lunch or getting kids in the office to play with us at an all hands meeting (usually over summer).

Usually, before we begin, he shows us a project he is working on in his back yard, or a picture he painted when he was younger.

When it comes to patching a hole in the wall or slapping on a new coat of paint, there will usually be another day the work can be done.

There are two classes of work: the paintings, which usually occur in caves and shallow shelters, and incised boulders and other surfaces that are found in the dry interior.

Generally I avoid furniture that is already painted because it is usually more work than I am willing to put into it.View full post»

I'm usually so torn about painting over pretty wood but you show how it can work out beautifully.

The costs are usually «shared» with the rest of the work body, paint etc

When not working at NDCH, Libby is usually painting pet portraits and volunteering for the Animals in Need Fund (AINF).

Hi Cory I find this a very interesting piece but I am not a youngster who has just passed a degree course I am a 60 year old who has just been disabled out of work and who has drawn, doodled or painted all of my life, I come from a family of 12 so we didn't get a chance to go to college I left school at 14 with nothing more than a second place in an art competition and every time I tried to take a course in art at night school my work hours would change usually just after I had handed over my # 100 or so.

Before I started working this way, I was painting nudes, and most of my work still begins that way, with a nude figure that I «dress» as the piece develops, usually according to whatever I feel that subject would wear.

Because of the imagery that I usually work with in my paintings, imagery that some people misinterpret as being manga — like, not a lot of people would see this spiritual side of my work.

His paintings are usually about a particular moment — «The work of art — a stop of time», he wrote in a diary — a chance arrangement of things on the breakfast table, with a figure perhaps, or a landscape as he saw it in the light of an instant, and so they are usually painted from a single drawing, or from more than one made in quick succession on the same occasion.

Usually I have one or two big paintings going, and I offset that by working on smaller things — drawings and prints.

Unlike her early paintings, this small group of works shows West's increasing experiments with more varied compositional patterns and the drama of forceful brushstrokes, usually black against white unprimed canvas.

These collages and paintings usually lead toward a final product; oftentimes an experimental film work — the best artistic tool, I feel, with which to incorporate many different mediums, cultural influences and concepts.

Situated somewhere in between painting and sculpture, the work of Angela de la Cruz centers around the stretcher that is usually used for keeping the canvas smooth and pliant.

Her Off the Page exhibition at Tinney Contemporary features works that are assemblages which combine various materials with other media, usually beeswax, as well as mixed media paintings with sculptural elements.

«Usually I am on a work for a long stretch,» he wrote, «until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined... The very matter of painting — its pigment and spaces — is so resistant to the will, so disinclined to assert its plane and remain still.

His paintings have several layers usually starting with a film still or reference to another art work, on which he aggressively piles paint to disrupt or re-contextualize the original image.

Painting usually on Masonite, he used a palette knife with oil colors and often recorded colors used on the back of his works.»

«I usually have a lot of work in progress at any one time — they come in families, individual paintings that relate strongly to each other.

The fact that Mr. Noland, a pioneer of Color Field painting in the 1960's, works in series and in a usually Minimalist mode of hard - edge abstraction sometimes brings the curse of formula to his compositions.

I love her work, she must get that all the time: «Oh, there's a penis...» I love it when someone points out a panda head in the form of a mountain in one of my paintings; it can ruin it for me at times, but when I do see it myself, I usually keep quiet about it!

His work, starting in the 1980s was usually of the figure including a number of major paintings with subject matter.

He started painting more structured works, usually politically motivated, mostly as a reaction to the Spanish Civil War (1936 - 1939).

A Christie's spokesperson said the glut of attributions was due to the fact that Old Master drawings are often unsigned and usually less well documented than paintings: «Many of the works were bought 20 — 30 years ago so it's not surprising that advances have been made that now help to narrow down and in many of the cases confirm a revised attribution.

Notably, these works were not always or even usually repainted or remade by Rauschenberg; they may in fact have been painted by others from the very beginning.

For an artist whose output extends far beyond the fine paintings of World War One and exceeds the parameters of British landscape painting within which his work is usually understood, the recurrence of certain themes and preoccupations — a sense of significant place, and the idea of trees as sentient, mystical beings — creates a satisfying symmetry to his career.

«The paintings are small format works with a figure or figures, usually partially cropped.

Painted in Humbrol enamels, more usually associated with boyhood model - making, and based on photographs, Shaw's works revisit landmarks remembered from his youth.

After completing a work, in a kind of ecstatic state, it was as if the painting existed and he barely did anymore: «I usually have to go to bed for a couple of days.»

While Hammer typically works in series, each book is unique, containing original paintings and texts, usually handwritten by the author.

The reviewer of this show in Arts Magazine described the work as «strong non-objective shapes painted with bald simplicity on a flat - plane background, usually grey.»

Like Lee Krasner, Conrad Marca - Relli and other Abstract Expressionist collagists, Vicente typically avoided newsprint and magazine pages in favor of combining oil paint and artist papers, and the resulting works usually resemble painting more than they do collage.

In a text titled, «Post-War Reflection,» Kusama writes, «My Works are usually painted flat on undivided space so that each microscopic mass is followed by another and its surface has a concrete appearance when looked upon as a whole showing a group of remarkably vast masses.

These extraordinary materials play the crucial role in Wallace's works and are used with an intention to invoke the aesthetic qualities they are not usually associated with, cleverly deceiving viewers into seeing them as paintings, and not as mixed - media works of art.

Like a nineteenth - century landscape painter, he usually works en plein air, rendering one subject — say, a highway or some patch of Alpine countryside — over and over until, in the artist's words, «it exhausts itself» or he runs out of paint.

I think, however, that the best place to begin is with the paintings themselves, bracketing the works on view in Per Kirkeby: New Paintings within his artistic trajectory, the contexts he is usually inserted in (often among German painters), and what he says in his writings [Michael Werner Gallery; September 15 - November 1paintings themselves, bracketing the works on view in Per Kirkeby: New Paintings within his artistic trajectory, the contexts he is usually inserted in (often among German painters), and what he says in his writings [Michael Werner Gallery; September 15 - November 1Paintings within his artistic trajectory, the contexts he is usually inserted in (often among German painters), and what he says in his writings [Michael Werner Gallery; September 15 - November 12, 2011].

Tate holds an extensive collection of Bacon paintings and Tate Britain and Tate Modern usually exhibit a variety of his works in London.

This major exhibition not only explores Philip Guston's paintings through the language and ideas of the poets that he loved — Eliot, Yates, Wallace Stevens — as well as others whose words chime with his work, but it also reveals the surprisingly profound importance of Italian painting on an artist usually regarded as quintessentially American.

Namely, the works were usually guided by the construction of pictorial space using expressive brush marks and lush colors, almost always painted on the backs of old picture frames.

They are kind of abstract, even though there is usually still the idea of a table, or a base with things on it — which is something that was there in some of my furniture in the 1980s, and is in the still - lifes, and continues in the abstract paintings that I am working on now.

Usually painting from collaged photographs, Wood takes delightful liberties with background, scale, and color, often distorting figures, employing unusually vivid hues, or adding a work of art in place of a family photo in an interior scene.

I usually work on three or four canvases at a time, but all of my work feels like one continuous painting allowing me a deeper understanding of my own self expression.

Talking about his work, Richard said: «I always strive to create an atmosphere in whatever I produce, at the highest possible quality and using a knife, brush, canvas and a very limited colour palette of oil paint or pastels, usually alla prima, mixing only on the canvas.»

She adds that her works «come from real things in the real world usually... then eventually it can fall away and the work becomes really more about painting and working than it does about the initial subject.»

At 77, Cottingham still puts in full days in the studio, where he works on prints and paintings (which usually start out as gouaches) and listens to classic and West Coast jazz.

Amid murmurs that the economic crisis was hurting midmarket galleries — an instance of art imitating life, with talk of the 1 percent and a dying middle class — the gallery was doing well, usually finding collectors for two - thirds of the works in each of its exhibitions and selling out the gallery's swan - song presentation of paintings by the Iranian - born artist Marjane Satrapi.

Despite being an outlier in many ways, Peinture cherche le mur A (Painting Looking for the Wall A)(all works 2017), a small painting of a simplified orange flashlight, fittingly illuminated Elodie Seguin's usually less straightforward explorations of form, color, and Painting Looking for the Wall A)(all works 2017), a small painting of a simplified orange flashlight, fittingly illuminated Elodie Seguin's usually less straightforward explorations of form, color, and painting of a simplified orange flashlight, fittingly illuminated Elodie Seguin's usually less straightforward explorations of form, color, and texture.

Though Richards paints for occasional exhibitions, her work is usually done by special commission.