Sentences with phrase «very moving paintings»

I was friends with Frank Moore since college — you know he was the person that invented the AIDS ribbon — and he made very moving paintings about living with AIDS.

«Young Man with a Flute is a very moving painting, done by Romney in the first half of his career, and in it, you can really see how the artist's exquisite skills, which will bring him enormous acclaim later in life, are developing,» added Senior Curator Meslay.

Not exact matches

There are also a number of grandstanding moves he'd make to get publicity (e.g., ordaining an openly gay man to the priesthood in a very public PR blitz only to defrock the guy a few months later because Spong was so concerned about ordaining a gay candidate that he didn't bother to go through the necessary discernment process — this PR move really impacted some very qualified homosexual candidates who were all painted with the same brush.)

Get very little paint on the brush and move across the surface rapidly.

I found that having the polycrylic was very important on the shelves and on the inside so that the paint didn't get scratched off as I moved boxes and other things around.

In very short order I was to tell her my story of moving and she was to tell me her story of wanting to sell the furniture pieces she has been painting.

for me I still play mario 64 now as we speak, It's stil very unique concept think about it, jumping through paintings in the love of your lifes houses who has cameras follow there moves to observe marios moves that was interesting, Galaxy is pretty far out there.

Because chronologically the images become real visual quotes, explaining a lot: they illustrate very clearly the start, developments and ending - including all moves and changes, of Gorky's painting art art.

Several paintings of Carra were inspired by this motif of moving masses, like his famous painting «The Funeral of the Anarchist Galli» in 1911 illustrates very well.

Because chronologically the images there become visual quotes; they illustrate very clearly the start, developments and ending - including all the moves and changes - of Jorn's painting art.

Because chronologically the images there become real visual quotes; they illustrate very clearly the start, developments and ending - including all the moves and changes - of Renoir's painting art.

Because chronologically the images of her art become visual quotes of her artistic life; they illustrate very clearly the start, developments and ending - including all the moves and changes - of Georgia O'Keeffe's painting art.

The picture this data paints is very exciting for the future of the self - publishing industry and the team at Lulu.com is thrilled to be on the leading edge of the direction the industry is moving.

In this oil painting by James Willis, we have a very busy street scene, populated with numerous figures, either on the move or engaged in conversation.

As usual he has given a very clear and easy to follow class, but I just wish he had used some artistic license and moved the dark tree or even left it out that is behind the foreground tree on the right hand side as it is so dark my eye keeps going to it instead of into the picture I know it is in the photo but that doesn't mean every thing should go into the painting surely sorry just a personal view

My paintings don't seem to move very many people.

The large paintings move in a very different way.

Griswold called the painting, acquired from a London dealer, is «a ravishing thing - very powerful, very moving.»

The paintings are very moving and I think people will feel that.»

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

Seeing these works, says Christopher Le Brun, President of the Royal Academy, «made my imagination come to life and realise what painting could be — very poetic, very moving, and very physical».

He has always painted with a very hard edge, and with very flat colors, but after graduation and moving to New York, he gradually began eschewing both form and color, aside from black and white.

It started off as a very different painting but my deeper knowing moved the paint many times until that black vertical emerged and the painting became realized.

It always seemed very inflexible in that you couldn't really manipulate the paint much, once the paint went down — you couldn't move it, you could only pour more on.

As the viewer moved from gallery to gallery, they were presented with a series of paintings and sculptures that aggressively challenge the very idea of portraiture, from Marsden Hartley's One Portrait of One Woman (the woman being Gertrude Stein, whose work was referenced multiple times in the show) to Glenn Ligon's moving and disturbing Runaway series from 1993 that juxtaposes images of runaway slaves with descriptions of Ligon written by his friends and colleagues.

Katharina Grosse stands for colour - intensive, multi-layered, expansive painting, which moves into space, appropriates spaces or opens up spaces for the very first time.

The works of the exhibition are moving in a direction that starts from absolute abstraction, since the works - photographs - videos and paintings, are very specific, they encapsulate the idea of post, the intermediate space and time.

In an unusually extreme move, Mr. Ryman affixes «Pair Navigation,» a painting on fiberglass perpendicular to the wall, supporting its outer edge with short metal rods, evoking a very low foldout table.

«I've been very interested in how space, defined as two - dimensional (a plane, like a painting), can move into form, three dimensions,» Richard Tuttle states in the catalogue for 26, an exhibition presented at Pace New York in 2016 that spanned fifty years of the artist's career.

So, this is in a way almost like transitional painting — a bridge painting between his very gestural 50's Abstract Expressionist work and his later color field work, which he moved into in the 70's and 80's.

In this substantial volume, the works of the infamous mid-century French visionary artist, Yves Klein — famed for having been photographed jumping off a wall, «into the void,» with his arms outstretched as he moved rapidly towards the pavement, as well as for having claimed and patented his very own shade of the color blue — are presented alongside paintings by the artist whose work influenced him most profoundly: his mother, the bold abstract painter Marie Raymond (1908 - 1972).

The squares are very carefully painted with even brushstrokes moving the paint vertically.

Because an installation usually allows the viewer to enter and move around the configured space and / or interact with some of its elements, it offers the viewer a very different experience from (say) a traditional painting or sculpture which is normally seen from a single reference point.

He has rightly been regarded as a consummately perceptual painter — the interaction of the dots covering his canvases makes the most out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion of space seeming to change, like the surface of a mosaic, as you move from side to front to side.

In the early 1960s, he moved very quickly into making three - dimensional work, so while the first room in the exhibition is given over to paintings, the second shows his first wall reliefs and sculpture.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

Cezanne communicates his struggle as an artist, that we all go through, with such candour, I felt extremely moved by the paintings, all portraits, altho I am not a figurative artist.I must say I got off on the furniture, draperies and organisation of the whole, as much as the expression in the faces.An exception is the Courtauld picture with the white clay pipe, a masterpiece if there ever was one.I breathed in the Cezannes and haven't digested them yet, except to say since the Matisse at the RA, I think this show is second to none.The Cohens were very good also, working across a large room.

Wells recalled that moving to the Scilly Isles, where Relief Construction was made, in 1936 prompted his immersion in contemporary artistic ideas: «I was very isolated there», he wrote, «and collected and read everything I could about Abstract and Constructive movements as well as painting and sculpture in general» (letter to Tate Gallery, 18 December 1973).

While many of us move onto other imagery in our paintings as we get older, Alejandro successfully explores a potentially awkward inter-relationship between very tightly rendered traditional portraiture, comic and cartoon imagery, underpainting, over-drawing, and abstract expressionism.

His paintings can be very moving.

His paintings contain relatively complex shapes suggestive of animate or inanimate forms; Philip Guston (1913 - 80), who had his own highly personal variation, sometimes called «Abstract Impressionism», from which he moved on to a more expressive style in the late 1950s; Adolf Gottlieb, a close contemporary of Clyfford Stills, exploited Surrealist imagery in the 1930s but was also deeply interested in American Indian Art and from this he developed in the 1940s his so - called «Pictographs» characterised by very Freudian imagery.

«Mel was very supportive of my painting, and as time went on, he said to me, «you know you should move on and see something of the rest of the world — don't get stuck here.»

The freedom that Dolla claimed in the 1970s came at a price: very few people knew what to do with this artist who could move from finger - painted monochromes to land - art (large colored dots on beaches and snow - capped mountains) to tiny fishing - lure sculptures, to large sulfurous paintings made with smoking tapers, to hilarious combine paintings that featured window shutters, to labyrinthine installations created with yards of unrolled muslin fabric.

I see it as a double challenge; to, all at once, question the hegemony of abstract painting's «post painterly» inheritance and, at the same time, move on from the empty rhetoric and theatricality of much gesturally driven painting - and do all this in original and surprising ways...... It will be very interesting to read the Brancaster crits coming up on the painters Patrick Jones and Nick Moore in all these respects...........

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).

To make very credible paintings while under the influence and move on to a personal vision seems to be something Passlof has done successfully.

Newly painted interior and very clean property is move in ready.

Very well maintained with fresh paint and MOVE IN condition.

Experts say that one of the very best times to do interior painting is just before moving into a new home.

Throw in the close - nit community we moved to a few years before who painted our home while we were in Ethiopia, filled our home with gifts for us and the boys, had only five other black members — a family from the south, and who totally embraced us and wanted to meet our boys, and of course all the family within 15 minutes and our very busy lives with school, work, 4 - H, etc., we royally messed up.