Sentences with phrase «view images of his paintings»

It's a wondrous portal this rectangle of glass — a sometime window, sometime screen, through which I can view images of paintings hanging on New York walls.

To view images of his paintings, please choose one of the time periods listed above.

Not exact matches

Swap heads, paint with light, paddle in a virtual fishtank and see live moving images of Edinburgh projected onto a viewing table through a giant periscope.

Some of the superheroes who will be introduced to the viewing audience include Peter Petrelli, an almost 30 - something male nurse who suspects he might be able to fly, Isaac Mendez, a 28 - year - old junkie who has the ability to paint images of the future when he is high, Niki Sanders, a 33 - year - old Las Vegas showgirl who begins seeing strange things in mirrors, Hiro Nakamura, a 24 - year - old Japanese comic - book geek who literally makes time stand still, D.L. Hawkins, a 31 - year - old inmate who can walk through walls, Matt Parkman, a beat cop who can hear other people's thoughts, and Claire Bennet, a 17 - year - old cheerleader who defies death at every turn.

For Wikiart I advise you to view the art - images of Leger's painting art in a chronological order.

For Wikiart I advise you to view the art - images of Paul Klee's painting art in a chronological order.

On Wikiart I advise you to view the art - images of his Malevich's paintings in a chronological order.

On Wikiart I advise you to view the art - images of his paintings in a chronological order.

On Wikiart I advise you to view the art - images of her colorful and expressive paintings in a chronological order.

For Wikiart I advise you to view the art - images of his painting art in a chronological order.

For Wikiart I advise you to view the art - images of Franz Marc's painting art in a chronological order.

On Wikiart I advise you to view the art - images of her painting art in a chronological order.

On Wikiart I advise you to view the art - images of his created paintings in a chronological order.

On Wikiart https://www.wikiart.org/en/asger-jorn/mode/all-paintings I advise you to view the art - images of his created paintings in a chronological order.

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Engaging narrative and vibrant images paint a robust portrait of this inspiring champion of the land and of women's rights.Center student discussion around the following questions, citing evidence from the text to support their answers: What are Wangari Maathai's views on the importance of education?

Combined with the vibrant colors of the potted bougainvillea trees and the glistening ocean, Ban Lealay paints a picture perfect image of style that compliments the harmony of the natural world that can be viewed from every angle of this brilliantly designed villa.

He has been kind enough to share with Painters» Table his thoughts on painting and images of his work in advance of a retrospective exhibition, Celebrating Abstraction, which will be on view June 7 - 14, 2012 at the Appledore Festival.

Al Held, The Yellow X, 1965, acrylic on canvas, 90 x 144 inches: Installation View, Al Held: Alphabet Paintings at Cheim & Read, New York (image courtesy of Cheim & Read)

Contributed by Sharon Butler / What you can't see clearly in online images of Carrie Moyer's new paintings, on view at Mary Boone (in conjunction with DC Moore) through April 21, is the remarkable fusion of flat, opaque abstract form with a masterful illusion of three - dimensionality.

The experience of viewing these paintings might remind us of a filmed sequence in which a camera slowly closes in on an image of a head.

While Schnabel has been making paintings with spray - paint for more than thirty years, the body of work on view in Enigmas remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original.

Contrasting, say, the Trevor Sutton painting Christow with Giulia Ricci's Order Disruption Painting, could reinforce this view, as might opposing the serene geometry of the Natalie Dower to the visual excitation of Patrick Morrissey's work, or the stability of Sutton with the kinetic, off - balance effect of Morrissey (see image below), and I know I am going too far in contrasting the contained circularity of Farrer's Knot in Time or Robertson's Aura with the eccentricity of Martin Church's Definitions (Study No. 3), because mostly what I am finding here is conpainting Christow with Giulia Ricci's Order Disruption Painting, could reinforce this view, as might opposing the serene geometry of the Natalie Dower to the visual excitation of Patrick Morrissey's work, or the stability of Sutton with the kinetic, off - balance effect of Morrissey (see image below), and I know I am going too far in contrasting the contained circularity of Farrer's Knot in Time or Robertson's Aura with the eccentricity of Martin Church's Definitions (Study No. 3), because mostly what I am finding here is conPainting, could reinforce this view, as might opposing the serene geometry of the Natalie Dower to the visual excitation of Patrick Morrissey's work, or the stability of Sutton with the kinetic, off - balance effect of Morrissey (see image below), and I know I am going too far in contrasting the contained circularity of Farrer's Knot in Time or Robertson's Aura with the eccentricity of Martin Church's Definitions (Study No. 3), because mostly what I am finding here is continuity.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

Considering how many nineteenth - century photographers struggled to give their images the handcrafted look of paintings, Sheeler's demonstration that he could do the exact opposite speaks directly to Precisionism's technocentric view of the modern world, and prefigured the Photorealist painters of the 1960s.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Painted with a minimum of brushstrokes, Ming's portraits are built up in blunt, muscular gestures blurring the surface at close range, yet creating a clear and evocative image when viewed from a distance.

He has disturbed the original image by painting or carving into the printed background, enhancing the atmospheric quality created by the view of this vast, unpopulated landscape.

Rendered on a variety of coarse fabrics, recognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

If their imagery comes from sand and body painting and from ritual, and Australian Aborigines avoid naming or viewing images of the deceased, that suggests we are dealing with art that is both made for collecting institutions and flies in the face of their purpose.

The paintings superimpose suggestive text written by Ellis and set in Los Angeles inspired fonts over stock - photographic images selected and purchased online by Israel: sunsets, surf, aerial views of Los Angeles, and close - up details highlighting local architectural vernacular.

ognizable images of human bodies and surfboards in the water pass in and out of view, subsumed by the water and mists which are created by the textures of the painted surfaces themselves.

Across all these works, McElheny hopes to suggest the possibility of an expanded experience of viewing, a view of the images that exist within painting where the viewer's own physical movement offers additional vistas, imaginary or not.

Reminiscent of aerial photography, the Weather Paintings are mysterious images photographically printed as an aerial view of the land, creating a disorienting sense of sight so that the viewer feels suspended above rather than being on the ground.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

Portraits of families, summers on the beach, scenes of the Statue of Liberty, and dancing figures in costume — these are some of the playful images found in the exhibition Florine Stettheimer: Painting Poetry, on view at the Jewish Museum this summer.

Image credit: Gallery view of paintings by Sonia Gechtoff in the exhibition Women of Abstract Expressionism.

On view were two major Warhols: «Liz # 1 (Early Colored Liz),» a 1963 image of Elizabeth Taylor on a bright - yellow background that is estimated to sell for $ 20 million to $ 30 million, and «5 Deaths on Turquoise (Turquoise Disaster),» painted the same year and expected to bring $ 7 million to $ 10 million.

The resulting paintings contain a luminous interplay between the mirror - like finish of the metal surfaces — reflecting a view that changes from every vantage point — and the highly saturated colors of the pigmented wax and traditional acrylic silkscreen images.

Goode's work evolved over the ensuing years to include expansive painted views of the sky, which he then defaced by tearing away or gouging substantial portions of the image.

A web of interwoven art historical references and ideologies connects the sculptures, paintings, and images on view in an installation that aspires to incite multi-disciplinary discussions with varied readings relating to themes such as: the displacement of the figure and the subject, the phenomenology of the viewer, and the deconstruction of systems.

The three paintings that were on view during his show — Peekaboo, Prom Night (For Bigger Thomas), and Window Painting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livePainting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people livepainting and the ways in which people live online.

It's noticeable, and telling, that in all of Rauschenberg's work, from the 1950s right through to the last painting on view here, dated 2005, he almost never uses his source materials sideways, or upside down, or diagonally; he always respects the given orientation of found images.

In viewing one of Moseholm's works, whether it be a large monochromatic painting of an image reminiscent of Hitchcock's «The Trouble with Harry» or the reflection of a woman's face floating over a polychromatic, nocturnal megalopolis as in the «Rosebud ll,» the viewer has the feeling of being directly exposed to a fundamental understanding of the logic in the media age.

We have over 80,000 images of prints, drawings, paintings, textiles and 3 - dimensional artwork from our permanent collections... View More

These depictions were diverse, from black - and - white landscapes based on images from magazines and amateur photos and views of mountains and parks painted in thick impasto to softly hued, transparent, illusionist lake scenes.

His first collaged paintings grew out of this process; these abstract grid - like images recall a night sky or aerial view of an urban landscape.

Featured image: Louise Bourgeois — Articulated Lair, 1986 (Installation View at MoMA); Painted steel, rubber, and metal; Dimensions variable, overall approximately 9 ′ 3 ″ x 21 ′ 6 ″ x 16 ′ 1 ″ (281.7 x 655.7 x 490.2 cm); Gift of Lily Auchincloss; and of the artist in honor of Deborah Wye (by exchange).

Upon viewing the paintings at a closer distance, the images begin to transform; the detail starts to appear and the material and form, along with the process, completely changes to give way to the realisation that the paintings are in fact knitted pieces layered together to form an abstract painting, using wool to replicate the process of paint.

«After the collages, I began to paint the eyes approaching the paintings on board as decorative objects symbolically representing the eye motif while creating an optical situation where the interior image and periphery of the painting (margins outside of the eye and thus painting) serve as a flipping perspective between view finder mask to visible interior image.