Sentences with phrase «way as a painter»

I construct the images as I go, working in many ways as a painter might.

Has he lost his way as a painter, or discovered an important second act as a sculptor?

Not exact matches

To disclose the «essence» of an object, a feeling, even of the very act of painting as in the case of Abstract Expressionist painters, means to envision a characteristic way of seeing.

He's on his ways to an illustrious career as a painter, or maybe a makeup artist.

There are glimpses of important figures, such as photographer William Eggleston and painter Ed Ruscha, but they're on screen too briefly to register in a meaningful way.

As we swing back and forth with Turner's way of life, we follow wherever his inner compass leads us; the Academy of fellow painters, most of whom revere his work; the cliffs and hillsides overlooking the greatest object of his eye's desire, the tumultuous seas; and a quaint little place he keeps finding inspiration in called Margate.

Even as Maud begins to become a successful painter, the two still choose to live on the edge of society and do things their way.

A detailed study of 19th - century painter Joseph Mallord William Turner in his final years, Mike Leigh's latest slice of art - house cinema works in much the same way as a Turner landscape: You have to be with the piece in person, then let it wash over you, one muted colour at a time.

One way in which Timothy Spall prepared for his role as British painter J.M.W. Turner was to spend two years studying painting with portraitist Tim Wright.

As far as painters» biographies goes, «The Last Family» ranks right up there with Robert Altman's «Vincent & Theo» (1990), Maurice Pialat's «Van Gogh» (1991) and Mike Leigh's «Mr. Turner» (2014) in that's it's a deeply personal, original work that goes way beyond mere recreation and instead offers you insight into the world as seen through the eyes of its protagonistAs far as painters» biographies goes, «The Last Family» ranks right up there with Robert Altman's «Vincent & Theo» (1990), Maurice Pialat's «Van Gogh» (1991) and Mike Leigh's «Mr. Turner» (2014) in that's it's a deeply personal, original work that goes way beyond mere recreation and instead offers you insight into the world as seen through the eyes of its protagonistas painters» biographies goes, «The Last Family» ranks right up there with Robert Altman's «Vincent & Theo» (1990), Maurice Pialat's «Van Gogh» (1991) and Mike Leigh's «Mr. Turner» (2014) in that's it's a deeply personal, original work that goes way beyond mere recreation and instead offers you insight into the world as seen through the eyes of its protagonistas seen through the eyes of its protagonists.

As labor - intensive missions go, then, «Loving Vincent» — a fictionalized inquest into the Dutch - born, France - adopted genius Vincent van Gogh as his final days are remembered by those close to him — is an appreciation of one man's celebrated art by way of a startling approach: animating a movie out of 65,000 oil paintings, all done by hand, by 125 professional oil - painterAs labor - intensive missions go, then, «Loving Vincent» — a fictionalized inquest into the Dutch - born, France - adopted genius Vincent van Gogh as his final days are remembered by those close to him — is an appreciation of one man's celebrated art by way of a startling approach: animating a movie out of 65,000 oil paintings, all done by hand, by 125 professional oil - painteras his final days are remembered by those close to him — is an appreciation of one man's celebrated art by way of a startling approach: animating a movie out of 65,000 oil paintings, all done by hand, by 125 professional oil - painters.

«The title of the film is taken from the way van Gogh would sign his letters — especially to his brother — as «Your loving Vincent,»» says Kobiela, who like the Dutch painter has struggled with depression.

The painter's toolbox will contain a canvas, a brush, and a few colors, and there will be precise instructions as to the way the brush is supposed to be used in order to yield an acceptable result.

In the book (at least in the uncorrected proof), the painter of her coronation portrait is called Hayden; the TV version corrects this — it was Hayter — but their version of the portrait itself has Victoria's head turned way too much to the right, apparently trying to fit the novel, which describes her pose (p. 142) as «standing and looking back over her shoulder.»

The Glasgow Boys» success in the art world paved the way for many famous artists such as painter and architect Charles Rennie Mackintosh (painting above, right).

Read This Way to Become a Better Writer Writers are as much artists as are painters and sculptors.

Ubud Painter Famous for its painter's community, Ubud is a special place in many ways, it has it own magic, and it particularly beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world, some of whom have adopted it as their owPainter Famous for its painter's community, Ubud is a special place in many ways, it has it own magic, and it particularly beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world, some of whom have adopted it as their owpainter's community, Ubud is a special place in many ways, it has it own magic, and it particularly beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world, some of whom have adopted it as their own home.

Namaqualand Accommodation What at first glance appears to be a wilderness of semi-desert - arid, dusty plains that stretch before one, dramatic mountains in the background, with little by way of colour or animation - is suddenly transformed, as if by a painter with...

Both, in their own time and own way, ask, as another French painter did, what are we and where are we going?

Recurrent throughout 8 Painters are stylings on past painterly marks and movements, not so much placed in quotations as absorbed into a work's facture... It's a hopeful sign that the artists in [the show] demonstrate a critical distillation of influences that inform their particular sensibilities, philosophical outlooks, and relationship to materials — not making any great claims, just proceeding in a personally deliberate way.»

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

Maybe not in the same way as it was to the painter, but meaningful in some shared human way... I'm simply trying to get back to a kind of painting that doesn't need a written explanation — that doesn't need a statement on the wall next to it.

He notes remarks that «it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing... apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter.»

«the domination of the object to be looked at, always saying that a certain line should go in this direction or that, a red had to be here and a blue there because that was the way it was on the model, began to be limiting...» (p. 75) Goodnough never accepted limits in his painting, embracing in his own work what he describes as the «feeling in the best work of American painters of the «wild» which has been the heritage of this country.»

Personally, as a painter who's been making sculpture as a way back to painting, if that ever occurs, few painters today seem to add anything new to painting unless they admit to themselves, as I finally did, that painting is nothing more, and nothing less, than flattened sculpture, which in turn is a subset of drawing.

Turner, celebrated as a great nineteenth - century painter of landscape, transformed the way we see and interpret our natural surroundings.

Influenced by Henri Matisse, Georges Braque and Pierre Bonnard, Heron experimented with composition, scale and particularly colour in ways that saw him recognised as one of the most important painters of the 20th century for his shift away from figuration — his refusal of narrative.

My job as a painter is to find beauty and awe in heretofore unexpected ways and means.

At the same time, I appreciate blogs that keep me informed about a wide range of art and art news, such as Hyperallergic; painter Sharon Butler «s blog Two Coats of Paint; and critical writing that does keep current with art exhibitions but in an idiosyncratic way, like painter Bradley's Rubenstein «s reviews on Culture Catch.

In a disconcerting way, he remains relevant by being, like so many younger artists today, not necessarily a painter per se, but an artist who uses painting coincidentally, as one of many other potential mediums available at any time; a phenomenon which in itself would merit its own investigation.

I put together this blog in part because I need to see what other people are doing and like you put it so well, am also looking for ways to elevate my intentions as a painter and to feel a little less isolated.

The works in this exhibition explore the way that this subgenre of painting has evolved in the work of artists who may identify as painters, but who explore the space between painting and sculpture.

This is a painter qua painter, although she works in all kinds of mediums, but the way that she uses digital images as the subject for her hand paintings just slays me.

While other artists this season pursue darker, more obscure visions, Robert S. Neuman does it the hard way, by navigating the twists and turns in along career as a painter.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

Tuymans is rapidly gaining ground as the successor to Gerhard Richter as the History Painter of the late 20th Century, and this book, which amounts to a catalogue raisonne as nearly every one of his paintings is reproduced, goes some way towards confirming his reputation.»

Very few of the female painters who've won long - term careers have painted in expressionistic or more unleashed ways, deploying high - keyed color or ropy surfaces, or painting in ways that strike people as irrational, out of control, or non-cerebral.

He singled out Jackson Pollock and the French painter Georges Mathieu as artists who «grapple with the material in a way which is completely appropriate to it,» and encouraged group members to emulate this approach.

By way of contrast, the New Image exhibition presented ten painters who were young and as yet unrecognized; they were allowed to show a good amount of work, from six to eight paintings.

Commenting upon the decade explored in «Philip Guston: Painter, 1957 — 1967» Paul Schimmel said, «If there was one way in which Guston was consistent as an artist, it was in his unwillingness to be pinned down or to rest on his own considerable accomplishments and influence.

Moreover, his painings define him and are an extension of himself, in the old romantic way that we think of painters as they existed way before this century.

Many of the artists have been influenced in some way by Japanese Sumi painters or modern artists such as Sam Francis.

As with many abstract painters of the 1940's and 1950's, think Rothko and his Subway Series, the path to abstraction for Richard Diebenkorn lay in taking familiar objects and views and finding new ways of interpreting them.

Abstract Expressionist painters commonly spoke of being «in» their work, but as the poet Frank O'Hara observed, the Combines» call to explore their every aspect offered viewers a way to be «in» them as well.

The participants used her hour on the plinth in most different ways: There were activists, raising awareness for causes such as animal welfare, the environment, and human rights; creatives from painters to dancers who brought their art to the plinth; people who promoted themselves or their companies; and participants who simply did nothing.

Mr. Downes, who began as an abstract painter and found his own way, smiles at that.

Some painters may work on a painting intermittently for as long as it remains in their studio under their gaze, not done until it leaves their possession; others produce so much work that they move quickly on to the next painting without looking back and reworking pieces; sometimes artists simply become bored with the artwork; and sometimes life gets in the way, leaving the work unfinished.

Tuymans is rapidly gaining ground as the successor to Gerhard Richter as the History Painter of the late 20th Century, and this book, which amounts to a catalogue raisonné as nearly every one of his paintings is reproduced, goes some way towards confirming his reputation.»

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Recent painters have also used the idea of painting badly and quickly as a way of rebelling against expectations of their art and as a mark of the authenticity of their expression.