Sentences with phrase «when older painters»

At that time, when older painters talked to you, they did it in some sort double - talk or riddled way, and if you didn't have a feeling for the painter's language, you didn't know what the hell they were talking about.

In an epoch when older painters tended to work for forty years exploring the same image, Wool blew willy - nilly through different images, often concurrently, challenging traditional notions about artist identity and branding and paint handling as well as the Modernist notion of progress.

Not exact matches

We developed this website especially for Western men Stephen Painter, of Oxfordshire, thought he had been chatting with a 14 - year - old girl, only to be confronted in Bradford car park by a vigilante group when

When his older brother enlists in 1943, Linus Muller assumes family responsibilities that introduce him to «Mister Orange,» Dutch painter Piet Mondrian.

When an old master painter shows someone reading, it's natural to wonder: what is that document?

This past month, a bizarre, three - year - long lawsuit accusing the artist Peter Doig of falsely claiming he never made a 40 - year old landscape painting signed «Pete Doige,» finally came to a close when the judge sided with the painter due to the sheer preponderance of evidence that he had nothing to do with the middling artwork (which was in fact made by a prison inmate).

When he was just eleven years old, he assisted wildlife photographer Helmut Drechsler on his ornithological photo shoots, which subsequently led to the painter's later landscapes of the Saxony countryside, but also inspired the painting Wo ist der gelbe Milchkrug, Frau Vogel?

In 2016, the Haitian painter was a 29 - year - old MFA student at Goldsmiths University when he was chosen from a pool of 230 artists for a solo exhibition at the Institute of Contemporary Art in London.

[1] When Marsh was two years old his family moved to Nutley, New Jersey, where his father acquired a studio home located on The Enclosure, a street that had been established as an artists» colony some decades earlier by the American painter Frank Fowler.

So when the easygoing, 46 - year - old painter of abstract - figurative canvases — more appreciated in the indie music and zine subcultures than by Tokyo - based curators and gallerists — was given a retrospective in August 2014, «The Great Circus,» at the prestigious Kawamura Memorial DIC Museum of Art, an hour's train ride southeast of Tokyo, it caught Japan's art community by surprise...

Made when the painter was 32 years old and still emerging into maturity, it consists of a tentative trail of uneven white blobs squeezed from a tube of tempera on to a small rectangle of brown paper.

On the Art World Old and New — The esteemed British art historian Sir John Richardson discusses his lengthy career in the arts with the Financial Times's Jackie Wullschlager, including his early years as an aspiring artist in France when he befriended Pablo Picasso's wife, and later, the painter himself.

The great Social Realist painter Raphael Soyer, A 1917, whose family emigrated to NY from Russia, at the turn of the 20th century, pretty much took me under his wing when I was 16 years old; and taught me oil painting.

Fast forward to the 20th century, when British painter David Hockney noticed something unusual about old master paintings that had escaped notice despite the thousands of dissertations on the same: everyone is left - handed.

«It is not clear when the essentially formalist notion of inner light became a commonplace in the criticism of Venetian painting of the sixteenth century, but it was certainly a major concern of the Bavarian painter Max Doerner, whose handbook The Materials of the Artist and Their use in Painting, with notes on the Techniques of the Old Masters (1921), had been published in an English translation in New York in 1934 and came to be much used in the circle of the abstract expressionists.

His solo shows include A New Commission for an Old State at Edith - Ruth - Haus, Oldenburg (2016); Proposal for a Porn Company, Galpão VB Associação Cultural Videobrasil, São Paulo (2016); Painter on a Study Trip, Gypsum Gallery, Cairo (2016); It's Never Too Late to Talk About Love, Nile Sunset Annex, Cairo (2014); When Meanings Face Glossy Surfaces, Contemporary Image Collective, Cairo (2010) and I Never Wanted to Be Alone in a Room, BALTIC Center for Contemporary Art, Gateshead (2010).

His solo shows include A New Commission for an Old State at Gypsum Gallery (2018) and Edith - Ruth - Haus, Oldenburg (2016); Proposal for a Porn Company, Galpão VB Associação Cultural Videobrasil, São Paulo (2016); Painter on a Study Trip, Gypsum Gallery, Cairo (2016); It's Never Too Late to Talk About Love, Nile Sunset Annex, Cairo (2014); When Meanings Face Glossy Surfaces, Contemporary Image Collective, Cairo (2010) and I Never Wanted to Be Alone in a Room, BALTIC Center for Contemporary Art, Gateshead (2010).

I feel that to be a real master provisional painter, you have to be really old, so that when you make that simple lone mark, it is a boiled down reduction of fifty years of marks.

In 1969, when he separated from his third wife, the painter Helen Frankenthaler, Mr. Motherwell moved to Greenwich, Conn., establishing himself on a four - acre compound made from the «working quarters» of an old estate.

Her painting «Mountains and Sea», made when she was just twenty - three years old, confirmed her reputation as a «Colour Stain» painter.

The 29 year old Vito Schnabel has already made a lasting impact / notable impression on the American contemporary art market / scene since the tender age of 19, when he discussed the highly competitive Manhattan art market during his first significant / notable exhibition which featured paintings of American painter, Ron Gorchov.

At a time when the so - called New Image Painters — Baselitz, Schnabel and co — were reviving interest in neo-expressionist painting, the existential cruelty of Titian's painting, in which a satyr is skinned alive, seemed like a message from the past, telling us that the truly great artist can not so much transcend the infirmities of old age — failing eyesight and diminished muscular control — as turn them into an aspect of genius, in works that strip back to the essence of things, and which can communicate to any age.

When art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de viWhen art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de viwhen curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de vivre.

When she arrived, the twenty - eight - year - old Hesse still saw herself as a painter.

«I got my idea for the spin paintings from an episode in the 1970s... I remember thinking «that's fun, whereas art is something more serious»... And then as I got older, I started thinking about Van Gogh and all those painters, and cutting your ear off when you're painting, and at that point I thought, «Why does it have to be like that?»

Most painters, when they get older, they get worse.

There, among the broken plates, the angst, and the forced juxtapositions of modernism's last and near farcical art movement was an older painter, a founding member of the American Abstract Artists, quietly composing visual music that, like Claude Debussy's more - than - a-century-old piano portfolio, remains as rich and as readably complex today — perhaps even more so — than when first shared with the public.

She was nurtured as a painter from the age of six by her father, and the exhibition at Borghi fittingly begins with Matter's earliest work: a landscape and self - portrait from 1929, when she was 16 years old.