Sentences with phrase «very same painting»

Then I found that Carroll Dunham had written an essay admiring the power of the very same painting by Baziotes.

Precisely a century later, I am standing before the very same painting — it is, properly, Nude Descending A Staircase (No. 2) by Marcel Duchamp — with Kimberly Orcutt, Curator of American Art of the New - York Historical Society on Central Park West, which has brought the big blowup of 1913 back to life in a delicious, irreverent retrospective featuring 100 of the original works.

Fast forward to present day Paris and a robbery and murder is committed to steal the very same painting that a priest claims to have evil powers from a curse that was forged by the devil himself.

Update: BMW of North America says that the base color for this Frozen Red is Sakhir Orange, the very same paint introduced by the new...

The very same paint I used on my rocking chairs on the porch recently.

Not exact matches

The enhanced industrial paint used in both public urination - plagued cities is called Ultra-Ever Dry, the very same nanotech coating that made Nissan's recent self - cleaning car prototype possible.

The dieing sun uses the same red, painting the sky with the wonder of the infinite, where time and space and your very soul are brought within a breathe of each other, and your humanity begins to come alive.

I respect your experience but it is still anecdotal and limited — it is not definitive hence my suggestion that you paint with a narrower brush lest you do the very thing that you are guarding against... You resist those who criticize «other ways of following Jesus» while doing a bit of the same to those who see value in the institution as a spiritual reality even if not an ideal one...

While claiming that the whole of creation has as its very structure the Sabbath principle, Barth qualifies this statement by suggesting that creation (through its culmination in the Sabbath rest) paints also to redemptive history (to covenant) and to the final consummation of the same.

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.)

Her sharp eyes are the same as the famous glinting eyes of her son, which Cranach often portrayed — he lived in Wittenberg and came to the painting of Luther's parents from a very close friendship with Martin of over ten years.

Im sure that we are the only club with such a fan base like this and its so so frustrating being painted with the same brush as these morons, as everyone seems like dislike Arsenal fans for this very reason.

But Walton also discovered that the pigments used to create all three portraits were so similar that they likely came from not just the same region or even workshop, but from the very same pot of paint.

I have several vintage picnic baskets and I love that way your is painted... and I have that very same pillow and adore it... Love Ann's beautiful work!

Even if you're sticking to the exact same colour it's a very good concept to paint it again so that it's crisp and clean.

The table next to it holding the roses would look very nice done in the same white paint — brighten it up!

Then I started to paint it (the same pale gray as my armoire) but I didn't get very far.

I found a very similar gold color headboard at Goodwill for $ 45 and used the same paint you did and it looks amazing.

If, however, the painting uses similar colors and patterns throughout, we sell it as the same item and your piece will look very similar to the one on the product page, but might not have exactly the same placement of lines and colors.

I even used the same paint color and very similar fabric!

It's funny - I have the very same china cabinet, and also painted mine white (and adore it!).

At the very least, I'm sure the digital matte paintings on display in Battle: Los Angeles were created by folks that have done the same for video games.

Every frame in the film feels like it could be made into a painting, then showcased in an art museum, and be admired by the very same people that are portrayed in the film.

Regardless of location, Inarritu paints a bleak portrait of society, where remote villages can be infiltrated by foreigners, and at the same time, in the middle of a bustling city, someone can feel very isolated and alone.

Then it occurred to me that not only was our SLS AMG coupe painted a vibrant shade of Le Mans red, but the SLS is this generation's poster car; I would surmise that pictures of this very car adorn the bedroom walls of car - crazed teenagers across the country, in the same way their fathers had posters of the Lamborghini Countach in their day.

These all - wheel - drive cars look very much the same as the S60 Concept, riding low on twenty - inch wheels and wearing the same Smurf - like shade of blue paint (other colors will be offered).

With only different victory / defeat conditions, it feels very much like the same thing with a new coat of paint.

In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52).

The paintings, all in highly saturated hues such as Behr Totally Black, Golden Black Gesso and Valspar Very Black, managed to be both formal and provocative at the same time.

The differences between drawing and painting resulted in very different outcomes of the same two - dimensional exploration.

James Siena's paintings are compact, intricate, finely crafted and geometric but at the same time very idiosyncratic abstractions, distantly related to early American modernists (he invokes Arthur Dove, Marsden Hartley and Georgia O'Keefe as cherished ancestors).

By which he meant: the artist who was overturning abstract expressionism before its very principals had quite done with it; who, in the same instant, seemed to push the new painting beyond itself, subject it to antic parody and shrug off the whole profound and athletic painterly adventure.

And the third painting in the series Excavation at Night (1908) though unfortunately over-varnished, particularly damaging for a very dark painting, but at the same time the shiny blackness of large areas of the work served to reinforce the connection I made between Bellows» choice and treatment of this subject and Robert Smithson «s observations on entropy in his 1967 essay «A Tour of the Monuments of Passaic, New Jersey.»

Whether you're drawn here by painting, sculpture, ceramics, fiber, glass, or pieces that defy easy description, you know you're seeing — and buying — work that isn't like anything else, perhaps not even other works by the very same artist.

The painting is not known to have been a part of the exhibition in the Dobychina Art Bureau but is believed to date from this same period of creative breakthrough and, if not included, was, presumably painted very soon after the show closed in January 1916.

You know, Gerhard Richter often says painting is the highest form of hope, and if you look at the way Klee paints these very paradise - like gardens but at the same time the insanity of human beings, he shows us all the directions the mind can go.

Frank O'Hara added to this praise, writing that Kahn's «paintings are very beautiful and very serious; very rich and very sad... he seems to brood over nature at the same time as he represents its exquisite moments.»

The motifs of such paintings could hardly be more clichéd; how many hundreds of academic paintings and tourist postcards were produced on the very same spot?

Repetition of the same image is important for Greenfield - Sanders» disciplined approach to painting, and here the four pallettes render very different outcomes.

Phenomenology, for example, is there from the very beginning: those first geometric explorations of colour and form reveal the same engagement with the viewer's sensorial experiences of space and matter as the early «penetrables» — walk - in spaces constructed from monochrome painted boards — and the expanded participatory installations, which Oiticica continued making until the very end of his life.

In its entirety, Invitation at Ribordy Contemporary has the final result to simultaneously present five artists who, approximately born in the same period, bring the medium of painting at some very distant conclusions.

We review the show dedicated to the work of two contemporary Swedish artists Cecilia Edefalk and Gunnel Wåhlstrand Edefalk presents us with a series of twelve (very) different painted versions of the same nude statue, all called «Double White Venus».

FC: My idea is that the people disappeared from the watercolour in the same way they left the cities — very abruptly — as if they had instantly vanished when I started painting the ghost towns, and there was this void that was left by them.

The artist, who spent several very prolific years painting in Italy employs the very same tools of fellow Abstract Expressionists.

And initially tapestry was really good for me because it has very little pictorial depth - things float in space, and nothing recedes; it's all on the same plane - which is how I paint.

This exhibition joins three important contemporary artists who have each incorporated reminiscences of Pollock into their works in very different ways: Thomas Demand's work Barn, is a photograph of a paper reconstruction based on the mythical barn used by Pollock as a painting studio; Peter Doig's painting, Daytime Astronomy, takes as its starting point a central figure lying in the grass in an open landscape - the figure is based on a photograph by Hans Namuth of Pollock lying in the same position; while Andreas Gursky's work Untitled VI is a photograph of a Pollock painting hanging in the Museum of Modern Art, New York.

From a beautiful old Bentley to a ruined old van straight out of the 1970s — they're all fixed in the same way, often roughly with some insulating tape or painted in a very unrefined way.

Which is to say that Mondrian's studio looked very much like a Mondrian canvas, except in three dimensions... For Mondrian... the act of painting and the space painted in were one and the same thing.»

Feld cites a very different inspiration for this painting, claiming that the horse's legs in Michelangelo's fresco The Conversion of Saul c. 1542 — 5 (Papal Palace, Vatican City), a work Guston frequently discussed in conversations at the time, are the source of the legs in Monument (Feld 2003, p. 102), although the arrangement of muscular human legs in the same painting seem a more obvious source.

That event at a time when we were all in a sense painting the same kind of paintings and painting very conventional, art school, junior Abstract Expressionist versions of that, that sort of early happening theater event or performance piece was in a way something that was pent up inside the spirit of the times and erupted from time to time in unlikely ways and then later manifested itself in a different kind of art.