Sentences with phrase «value of painting»

The real value of these paintings lies in the memories of those who have owned them.

I think it misses the point that the abstract / visual value of a painting is a separate issue from what it looks similar to, or even whether it is abstract or figurative.

All three works were judged to be genuine by a panel of experts, and the total value of the paintings was estimated to be in excess of # 200,000.

I am not meant to consider the relative value of each painting, but to understand every act as affirming itself and itself only.

[266] Contemporary painters include Lucian Freud, whose work Benefits Supervisor Sleeping in 2008 set a world record for sale value of a painting by a living artist.

The aesthetic value of the painting will be proportionate to the degree of intensity to which variety, diversity and contrast are gathered together into novel unity.

Elrod advances an argument that is committed to the formal values of painting while inserting an unsettling psychological undertow to his imagery.

A third work features painted images of coins flooded with or sliding in pools of paint, likening the commerce and exchange value of painting to a material action.

... Worth in dollars is only an exchange value, like the sale value of a painting or the copyright of a poem.

And because so few people understand the art market, rigging the value of paintings is a simple way to launder money.

The value of a painting is in the eyes of those who desire it.

The value of a painting lies in the feelings of the artist.

An insured painting is stolen and the insurance company pays the owner's claim for the value of the painting.

The best determination of the value of a painting is the artist's sales history.

Burgard explains that when the ARTnews story, written by Herschel B. Chipp, came out, one collector was so angry that he called the artist and furiously demanded, «What have you done to the value of my paintings?»

This exhibition explores the relationship between philosophical and art - theoretical principles that are central to Coventry's approach to making art, and questions the deontological concept that the value of a painting does not depend on external factors but rather on the way it has been executed.

When asked about the value of those paintings in today's market she grows irritated and almost impatient, saying that for her the value was always historical, aesthetic and could not be measured by money, and she can't possibly imagine how these works got so expensive.

A man who defaced a work by Mark Rothko at Tate Modern in London on Sunday has claimed that by doing so he has improved the value of the painting.

«Joan has been recognised as a significant participant in the Abstract Expressionist movement since the 1950s,» he says, «but the value of her paintings has risen dramatically in the last ten years.

Wolf Kahn, whether he intended it or not, is the pioneer of the value of painting as an open field, in which any way is legitimate if its source is the blade of intellect and the flow of passion.

I know the market is very down on him, but if you look at the value of paintings — like this spin painting,» he threw an arm over to the large circular canvas with a splattering swirl of paint covering it, «the price is $ 650,000.»

In August 1999, Childish and Thomson wrote The Stuckists manifesto [5] which stress the value of painting as a medium, its use for communication, and the expression of emotion and experience — as opposed to what Stuckists see as the superficial novelty, nihilism and irony of conceptual art and postmodernism.

He continues: «I don't value the value of my painting, I value the value of painting itself.

How do you intend to affect or undermine the value of painting.

The titles of the works locate and extend the value of his paintings.

In his paintings he explores how gestures can convey narratives, while his sculptures add another dimension to this examination of forms, condensing the values of painting, both in terms of form and finish.

By denying customary modes of critique, Albert Oehlen questions how the function and value of painting might be developed outside a historical hierarchy of aesthetics and form.

She said instead, «I think it's a nitpicky thing to dwell on... The tax doesn't even begin to compare to the value of the painting I'm going to give away.»

The man declared he was carrying five paintings with a total value of 180,000 roubles (# 2,400), but the documentation he was carrying about the value of the paintings was apparently false.

In a new Manhattan Supreme Court filing, Baldwin pleads with the judge to punish gallery owner Mary Boone for ripping him off by making her pay him three times the value of the painting at issue.

Richter had long been a prominent figure within the international art world, but the exhibition, curated by Robert Storr, was something of a corrective to the voluminous interpretations — and, in Storr's view, misinterpretations — that had long beset the artist's work: He had been aligned with neo-Expressionism, with Fluxus, with postmodernist critiques of the validity and value of painting, and with political agendas of all hues.