Sentences with phrase «what paint line»
This would happen no matter what paint line you're using.
http://www.thepurplepaintedlady.com/ Not exact matches
What Villanova Needs To Prepare For: The Blackbirds are actually a Top 50 team when it comes to defending the three point line, but that might be because you can score so easily on them in the paint.
There is no rush to figuring what clothing works best for you or what makes you feel the most comfortable feeding your baby out and about, but I don't think an entire line of nursing clothes is necessary, just like I don't think a beautiful quilt or the perfect paint color are necessary.
I drew the arched line for their red line, got red paint on the plate and told them what to do.
I am not sure what the whole process looks like, as far as how they come up with the colors for each season and how those translate to fabric versus paint or graphic design, but if you start paying attention to the Pantone colors, all of a sudden you will begin to see those colors in the new season's line of clothing, home furnishings, graphics and even architectural designs for offices.
Painted on a larger canvas, The Bourne Ultimatum poses itself as an unavoidable political allegory (what with Greengrass fresh off the triumph of United 93), lending a lot of weight to its portrait of a completely broken world where one wrong word spoken on an open line can bring the whole weight of a rogue National Security Agency down on them like a concrete gargoyle.
Characters reminisce about the»90s, wear Pixies T - shirts, and maintain collections of hand - painted action figures in Young Adult, all in line with what viewers might expect from a film that reunites Juno's writer and director, Diablo Cody and Jason Reitman.
Outside, Ford's distinctive Liquid Blue paint will be offered, and there'll be exclusive 18 - inch alloy wheels, different from what's offered on the rest of the Fiesta line - up.
Not necessarily in a straight line but «with artfully constructed zigzags that create an inside sense of the characters thoughts and feelings without telling or explaining what they are but instead showing us, painting the actual landscape of their hidden emotions.»
The Bank of Canada today paints a troubling picture of what has become a vicious circle where consumer debt is concerned, and amid weak underwriting standards on some home equity lines of credit.
That's what makes the color paintings very different from the black - and - white line drawings.
Secondly, I would like to propose what I think is a fresh, if not in fact entirely new, way of looking at the lines, forms and spaces of the classic drip paintings.»
«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.»
2015 Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich (November 14, 2015 — April 30, 2016) Marks Made: Prints by American Women Artists from the 1960s to the Present, Museum of Fine Arts, St. Petersburg, Florida (October 17, 2015 — January 24, 2016) A Few Days, Lennon, Weinberg, Inc., New York (October 7 — December 19) The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery, Yale University Art Gallery, New Haven, Connecticut (September 4, 2015 — January 3, 2016) America is Hard to See, Whitney Museum of American Art, New York (May 1 — September 27) What is a Line?
The L.A. - based artist's tiny, nearly miniature paintings are filled with enigmatic narratives — the gaping red mouth of what might be a small dog; a girl in an opulent bedroom lined with lush jungle - like wallpaper; seven small horses that gradually rise on their hind legs, the last one jumping onto a form resembling a fleshy nose.
Painting in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines, Katz sought to convey the appearance of things as they are both felt and perceived in the «present tense,» the now.
His dynamic brushwork, nervous line and extraordinarily rich colours give his paintings a great lyricism; what ultimately interests the artist is the melancholy and desperation in the human condition.
What is slightly different with the Hong Kong show is the centerpiece of the show is not a painting with icons covered by thick black lines.
He painted large and shared the zeitgeist of those who blurred the lines — of what paintings were and what painting could do — by using found materials and in - your - face imagery.
Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.
Guston's painting, in terms of color, line and form, privileges these properties above all else so that what is eventually shown on the canvas is the artist's investigation into the plasticity of image - making.
You've seen them — those paintings where part of the canvas is still bare, except for perhaps a line drawing showing what the artist was going to put there.
What's on view: A log cabin, spray painted gold, encrusted on the inside walls with keyboards, shotgun shells, arrowheads (I think), tent stakes, phone lines, lightbulbs.
What Amy Sillman and a great number of drawing masters have in common is the proneness to create works which blur the line between drawing and painting.
Lines, colors, shapes are arranged in space and while at first the composition doesn't seem to stand out in any specific way, what you're in fact looking at is what art historians consider to be the very first non-objective or abstract painting of the 20th century.
Richard Wentworth: motes to self Charlotte Poseneske: Early Works Peter Freeman, 140 Grand Street Both shows run through May 31 What's on view: A series of sparse Ab / Ex-looking minimal drawings and paintings from the 1950s and 1960s (Charlotte Poseneske); photographs of fences, grates, urban detritus made strange pinned up on the walls, and lined up on long work tables (Richard Wentworth)
This is a ham - fisted and direct way of achieving a kind of realness within a painting which sits in contrast to a line or form made of, say pencil, which is so self - consciously affect-less that it can ground a painting in its materiality — sometimes counter-acting what the dirt has done.
The lines in between the black paint stripes fuzz slightly on the unprimed canvas; the industrial paint on notched canvas works have edges covered by what looks like duct tape.
What dominates de Kooning's paintings of this time is his line: an electric yet lithe force that swerves, swoops, dodges, and shimmies at breakneck speed.
This body of work can be grouped into two categories: watercolors with web - like black lines interwoven over masses of color suggesting successive layers of depth, and oil paintings of extremely heavy consistency in which controlled randomness allows for the appearance of an unconscious, interior landscape or what the French surrealist artists called an «inscape.»
What surprises many curators is that while many of her 20th - century contemporaries in South Asia were making brightly colored, figurative paintings, Mohamedi was intensely focused on abstract, monochrome line drawings rendered in combinations of ink, graphite, gouache, and / or watercolor.
For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.
It's clearly understandable that no matter what scale the painting is, each line references her thoughts.
By no means are all of the figure paintings successful, but in painting them he was creating the conditions he needed to paint what came next: the fusions of landscape and architecture, light, colour space and line on which his reputation finally rests.
The piece comprises layers of inkjet prints on acetate — a door with an «Audience Entrance» sign and what could be seen as pulled blinds or lined notebook paper — as well as paint and solvents.
What is prominent in both films and paintings is the presence of thick black lines which disrupt rather than promote unity within composition.
They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.
July 8 - 31, 2009 In «Portraits,» American Artist - in - Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high - art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd's «Criminal / Victim» series from 2009 depict both perpetrators and victims of the same crime side - by - side, visually blurring the line between innocence and guilt.
What her work displays for us, and the reason why we have decided to include the paintings as an example of line art may surprise some but in fact, they are important as they showcase the variety of the definition what lineWhat her work displays for us, and the reason why we have decided to include the paintings as an example of line art may surprise some but in fact, they are important as they showcase the variety of the definition what linewhat line is.
In «Portraits,» American Artist - in - Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high - art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd's «Criminal / Victim» series from 2009 depict both perpetrators and victims of the same crime side - by - side, visually blurring the line between innocence and guilt.
Perl continues noting that «what makes «Impressionists on the Water» a success is the confidence with which the curators stay inside the story they're telling, keeping the plot line simple enough that the paintings emerge with their subtlety and complexity intact.»
Perl examines «the painter's predicament,» writing: «Suffice it to say that the conundrum for painters in the past several decades has been how to maintain some dependable conception of what painting is all about while insisting on the freedom of action needed to keep that concept alive... There is always the necessity to hold the line even as one goes over the line, to maintain some sense of what painting is before all else in the face of an environment in which anything goes.»
Using what looks to be a very long ruler, Gene Davis set down a series of strictly drawn straight lines, and painted various vivid colors inside those lines.
And for years, before, during, and after Bennington, I mean all the years I knew Clem [Clement Greenberg] and after that, no matter what my major concern in the line of painting was, at the same time I always did easel pictures either out in nature or in my studio.
, ArtPharmacy (Blog), June 12 Elisa della Barba, «What I loved about Venice Biennale 2013», Swide, June 2 Juliette Soulez, «Le Future Generation Art Prize remis a Venise», Blouin Artinfo, May 31 Charlotte Higgins, «Venice Biennale Diary: dancing strippers and inflatable targets», The Guardian On Culture Blog, May 31 Vincenzo Latronico, «Il Palazzo Enciclopedico», Art Agenda, May 31 Marcus Field, «The Venice Biennale preview: Let the art games commence», The Independent, May 18 Joost Vandebrug, «Lynette Yiadom - Boakye», L'Uomo Vogue, No. 441, May / June «Lucy Mayes, «Lynette Yiadom - Boakye», a Ruskin Magazine, Vol.3, pp. 38 - 39 Rebecca Jagoe, «Lynette Yiadom - Boakye: Portraits Without a Subject», The Culture Trip, May Lynette Yiadom - Boakye, «Lynette Yiadom - Boakye on Walter Richard Sickert's Miss Gwen Ffrangcon - Davies as Isabella of France (1932)», Tate etc., Issue 28, Summer, p. 83 «Turner Prize - nominated Brit has art at Utah museum», Standard Examiner, May 1 Matilda Battersby, «Imaginary portrait painter Lynette Yiadom - Boakye becomes first black woman shortlisted for Turner Prize 2013», The Independent, April 25 Nick Clark, «David Shrigley's fine line between art and fun nominated for Turner Prize», The Independent, April 25 Charlotte Higgins, «Turner prize 2013: a shortlist strong on wit and charm», guardian.co.uk April 25 Charlotte Higgins, «Turner prize 2013 shortlist takes a mischievous turn», guardian.co.uk, April 25 Adrian Searle, «Turner prize 2013 shortlist: Tino Sehgal dances to the fore», guardian.co.uk, April 25 Allan Kozinn, «Four Artists Named as Finalists for Britain's Turner Prize», The New York Times, April 25 Coline Milliard, «A Crop of Many Firsts: 2013 Turner Prize Shortlist Announced», Artinfo, April 25 Sam Phillips, «Former RA Schools student nominated for Turner Prize», RA Blog, April 25 «Turner Prize Shortlist 2013», artlyst, April 25 «Turner Prize Nominations Announced: David Shrigley, Tino Sehgal, Lynette Yiadom - Boakye and Laure Prouvost Up For Award», Huffpost Arts & Culture, April 25 Hannah Furness, «Turner Prize 2013: a dead dog, headless drummers and the first «live encounter» entry», Telegraph, April 25 Hannah Furness, «Turner Prize 2013: The public will question whether this is art, judge admits», Telegraph, April 25 Julia Halperin, «Turner Prize shortlist announced», The Art Newspaper, April 25 Brian Ferguson, «Turner Prize nomination for David Shrigley», Scotsman.com, April 25 «Former Falmouth University student shortlisted for Turner Prize», The Cornishman, April 29 «Trickfilme und der Geschmack der Sonne», Spiegel Online, April 25 Dominique Poiret, «La Francaise Laure Prouvost en lice pour le Turner Prize», Liberation, April 26 Louise Jury, «Turner Prize: black humour artist David Shrigley is finally taken seriously by judges», London Evening Standard, April 25 «Turner Prize 2013: See nominees» work including dead dog, grave shopping list and even some paintings», Mirror, April 25 Henry Muttisse, «It's the Turner demise», The Sun, April 25 «Imaginary portrait painter up for Turner Prize», BBC News, April 25 Farah Nayeri, «Tate's Crowd Artist Sehgal Shortlisted for Turner Prize», Bloomberg Businessweek, April 25 «Turner Prize finalists mix humour and whimsy», CBC News, April 25 Richard Moss, «Turner Prize 2013 shortlist revealed for Derry - Londonderry», Culture24, April 25 «David Shrigley makes 2013 Turner Prize shortlist», Design Week, April 25 «The Future Generation Art Prize@Venice 2013», e-flux.com, April 21 Skye Sherwin, «Lynette Yiadom - Boakye», The Guardian Guide, March 2 - 8, p. 36 Amie Tullius, «Seasoned by Whitney Tassie», 15 Bytes, March «ARTINFO UK's Top 3 Exhibitions Opening This Week, ARTINFO.com, February 25 Orlando Reade, «Whose Oyster Is This World?»
Katz's monumental landscape paintings are executed in what is now considered a signature style characterized by flattened planes of color, shallow pictorial space, and lean, reductive but acutely descriptive lines.
Their work was interesting, blending photography with painting and blurring the line between what was captured on film and what was painted later.
So the nature of those vertical lines or horizontal white lines completely changes in terms of what they refer to and how they create a composition for a painting.
In a painting, whenever there is a line in a field it becomes a representation for a person; what ends up happening in my neon linear pieces is that each line of light ends up acting as a stand - in for the idea of identity or individuality.
What makes them even more compelling is the way Mr. Cruz sometimes gouges the surfaces with scissors and sprays them with bright colored lines while chipping away at the frame with a saw to make paintings that look as though they have barely survived a natural disaster or war.