Sentences with phrase «which end of a paint»

People who can't figure out which end of a paint brush to hold are acting as general contractors when rehabbing older places.

Not exact matches

On the basis of information in the Chronicle of Arbel, he paints out that by the year AD 100, the Christian faith spread not only in Arbel in Mesopotamia but also in the villages near by on the mountains, lie concludes: «If, by the beginning of the second century, the Christian faith had already won converts among the inhabitants of the mountain village in Hadiab, then there can be no doubt that the Christian faith had been established before the end of the first century in Edessa and also in Osrhoene, which were on the high way connecting Arbel with Palestine and Syria.»

The canvas on which the picture of the end - time was painted was simply breath - taking in its comprehensive scope.

«I just remember taking the snap, trying to get low,» he says, «but it was difficult, and I remember getting hit and then seeing stars, and the next thing I remember, I remember looking down and seeing yellow, which was the paint of the end zone.»

So here we are; two International breaks down, one to go and then we'll have the imminent arrival of Yuletide / winter football on our hands; a period which in the last decade, hasn't really painted a clear picture (and misled the fan base) of where we eventually end up, season after season.

When I showed up in London at the end of August that year, I brought along earmuffs (because in the heat of a memory competition, there is no such thing as deaf enough), which I'd painted with Captain America stars and stripes; 14 decks of playing cards I would try to memorize in the hour cards event; and a Team USA T - shirt.

But then I end up with a pink - ish room and it always reminds me of my middle school bedroom, which was painted such an intense pink that I kid you not, it glowed.

I painted the panel of what was once a play room door, which is now sloooooooowly turing into my office door (seriously feels like the never ending process) with chalkboard paint years ago, and I'm still so glad I did.

I was cautious with how much paint I poured into the container at first and ended up having to stop and add more... then when I came back I had a few little specks of paint shoot out which might have started to harden during the time that I was adding more.

Lucas is a major figure, and Revenge of the Sith may be some kind of historic achievement — the first movie in which it is fully impossible to tell where flesh ends and digital paint begins.

The scene ends with Swinton's mother waking up and leaving her house to find it (and her car) splashed in red paint by her fellow citizens, as her son, possibly stewed in the resentment and frustration of the mother, has grown up to become a neurotic sociopath responsible for murdering his fellow students in a school shooting — which of course is young people splashed in a different kind of red.

Their default mode is to blame Ned for everything, which ends up painting unflattering portraits of three self - involved women who haven't accomplished much of anything on their own.

Extreme close - up shots reveal tiny details rich with psychological significance, such as a scene in which Eva absent - mindedly scraping red paint off the ends of her hair with her nails.

Before long, Kurt is persuading Alex to pose for one of his paintings — all of which feature gigantic close - ups of puckered anuses — while Charlotte, during an ostensible booze run, demonstrates to Emily her penchant for giving happy endings at a nearby massage parlor.

New In Scandinavia / Denmark: DEAR MR. WATTERSON «Calvin and Hobbs» creator Bill Watterson created one of the most iconic comic strips ever made, ended the run at it's peak of success after only a decade (which is relatively short for the medium) and walked away from the business to paint.

Design and style discussions went from the design of the Nissan Juke, the next Ford Fusion, the Cadillac XTS Platinum Concept, wood trim in high end cars and even onto the Frozen Ice paint care agreement from BMW and which car wax is a favorite.

Our 2015 Mercedes - Benz CLS63 AMG S - Model 4Matic rang in at $ 116,510 (MSRP), thanks to the additions of Diamond White paint ($ 795), AMG 19 - inch multi-spoke wheels ($ 1,700), the Premium Package ($ 3,740 and includes ventilated front seats, an active multi-contour driver seat, power folding side mirrors, an electronic trunk closer and a push - button start system with keyless entry) and the Driver Assistance Package ($ 2,800 and includes an adaptive cruise control system with steering assist, a blind spot monitoring system, a lane keep assist system, a brake assist system that prompts the driver to apply the brakes if necessary and can even apply additional pressure to the braking system, and two additional extensions to the standard Pre-Safe system: Pre-Safe Plus, which takes into account traffic flow to the rear of the car and is able to appropriately set up the CLS - Class for a rear - end collision, and Pre-Safe Brake with Pedestrian Recognition, which allows the vehicle to stop on its own should an imminent collision with a pedestrian be detected).

The paintwork adorning the side body panels and front and rear ends of the BMW i8 can be specified in a choice of four colors, three of which have been created exclusively for BMW i. All the paint finishes provide a striking contrast to the black band.

The story begins with the painting of the first portrait, when More was almost at the peak of his powers — in which the mysterious John Clement doesn't figure — and ends with the second portrait five years later, after the deeply Catholic More had lost his job and was being hunted down by his Protestant rivals at court.

Once I had settled into my accommodation - two rooms in the attic floor of a terraced house not far from the West End Park - I spent a moderately distracting week strolling around the exhibits: the Fine Art and Sculpture Rooms in the Eastern Palace; the thrilling assault to the senses, both aural and nasal, in the Dynamo Shed; the Queen's Jubilee gifts (dull but, presumably, for those that need it, terribly reassuring); a reproduction of the Bishop's Palace which, upon investigation with the tip of my umbrella, revealed itself to be made entirely of painted canvas; and - my favourite, illicit haunt - Howell's tobacco kiosk with its wondrous international selection of cigarettes: Piccadilly Puffs; Shantung Silks; Dinard Dainties; Tiffy Loos!

-- And even if you paint a scenario where Applegreen ends up facing an array of smaller / more nimble as well as much larger / more aggressive competitors, the sector's still all about location — which explains how so many single - store operators have survived & thrived this long — which still presents opportunity for Applegreen to continue carving out share for the foreseeable future in the UK / US, where it has a negligible presence.

In Sidon was found a sarcophagus, from the end of the fourth century BCE, on which is painted Alexander the Great and the King of Sidon hunting a lion with the help of a hunting dog, similar in build to the dogs in Ashkelon and similar in appearance to the Canaan Dog.

At the end of the festival, Kimberly Moore from SW Art Magazine announced six awards, three to artists who represented those painting «en plain air» and three to those who represented the «& More» part of the event which opened it up to sculptors, wood carvers, ceramic artists, metal artists, and more.

In the end he found what he was looking for, which was not so much a new principle as a more comprehensive one: and it lay not in Nature, but in the essence of art itself, its «abstractness» — the qualities of the medium alone — as a principle of consistency makes no difference: it is there, plain to see in the paintings of his old age.

An end to preoccupation with escaping a past, then, and instead the pursuit of painting without the lingering presence of what it no longer is — which, put like that, doesn't sound all that far from what Reinhardt wanted.

By defining the painting as a made - up space in which an open - ended narrative (or dream) can unfold without reaching a resolution, Reginato gains an immense amount of freedom for himself.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an end.

If the «contemporary» scene suffers from a crushing surfeit of concept and reference, which ends in tedium and irrelevance, the contemporary figurative scene suffers from a lack of internal criticism, from a failure to distinguish between what is well painted and what is good art, which ends in mediocrity and kitsch.

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reaPainting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the reapainting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

Coming at the end of the third essay «To Myself» in a section titled «Painting and Countenance» which is about portraiture, self portraiture and the attentive state the verticality of a painting in mirroring one's own vertical presence in the world can induce in thePainting and Countenance» which is about portraiture, self portraiture and the attentive state the verticality of a painting in mirroring one's own vertical presence in the world can induce in thepainting in mirroring one's own vertical presence in the world can induce in the viewer.

With the exception of the few black shapes that made their appearance at the start and the end of her painting life, Martin's palette is airy and light — neither heavy nor dark — and it's no stretch to associate this with the classicism she espoused or with the ideas of perfection and joy and innocence, and so on, which held her rapt.

It was the night before a few dozen of Ms. Dumas's new paintings would be shipped to New York for her first solo exhibition there in eight years, and the artist was drinking white wine and still contemplating which works would ultimately end up in the show.

Exhibited across two floors of the gallery, the paintings here range in scale from the tablet - sized Boardwalk Barter a reminiscence from the artist's earlier years selling his work in Venice, California, to one of his signature, immersive flower - like explosions, which can be read as either the conceptual origin or the end point of all other work.

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

The excess that comes from each sanding and clipping of a canvas ends up collected in bins which serve as an additive to halved plaster paint bucket sculptures.

This parting glance at Mait's painting in the window, with its delicately shimmering washes of blue, brought back for me one of those rhapsodic lines from The Great Gatsby in which the jazz of Fitzgerald's finest prose is both music you can dance to and a reminder, with its blue notes, that the illusion eventually ends: «In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars.»

At the end of the day, New American Paintings» number one goal is to offer deserving artists a vehicle though which there work can be discovered by an engaged and geographically diverse audience.

«I wanted to bring as much information into a painting as possible, which was, on a very simple level, a way of coping with reality,» he says of his early work made in post-World War II Germany and marked by the 1990's: the end of the Cold War, changing global relationships and the birth of the internet.

As you square up to the best of the bigger pieces — # 79 and # 116 are the ones to look for — you're plunged into the final moments of a quest narrative with a happy ending, in which Diebenkorn discovers his version of the true grail in Ocean Park, Santa Monica, and American abstract painting takes another bow.

Co-curated by musician and painter Scott Avett, lead singer of the folk - rock band The Avett Brothers, and David Kratz, president of the New York Academy of Art, ABOUT FACE, which will feature sculpture, paintings, and photographs, brings celebrated artists, many from the East End, together with emerging artists to examine the diverse ways human beings are presented in portraiture today.

(But then I came out of the Smith show and went into the Royal Academy Summer Exhibition; and then I went into the Royal Academy Schools Show; at the end of which Richard Smith was looking like a paragon of painting.)

In the middle of it all is Robert Rauschenberg's White Painting (1951), one of the earliest pieces in the show and perhaps the one which, in its simple paradox of filled - in blankness, epitomises the cyclical quest for the end of pPainting (1951), one of the earliest pieces in the show and perhaps the one which, in its simple paradox of filled - in blankness, epitomises the cyclical quest for the end of paintingpainting.

Lacey Contemporary, which officially launched last night, opened its doors for a sneak preview with a diverse and energetic show of painting at the end of September.

By the end of the fair, the gallery had sold a number of works, including paintings by Wifredo Lam for between $ 150,000 and $ 300,000 and a work by Fernando Botero, which sold for $ 1.2 million in the minutes before closing.

The manipulation of materials for a visual and narrative end is especially evident in his room installation which squirts paint from the ceiling onto a platform in an abstract never - ending performance.

The painting is based on the end of Friday the 13th, a routine horror movie in which, as part of a dream sequence, a slumped figure floats across the reflective surface of a lake.

The resulting work, Fela: Amen, Amen, Amen, Amen... (2002), ended up being one of the most talked - about works in the exhibition, and likewise represented another breakthrough for Barkley, which ultimately got him painting large - scale portraits again.

The sculptures are complemented by a selection of paintings from Heikes's Z series, which he developed as a way to signal the end of language, implied by his invocation of the last letter of the alphabet.

Painted two years after the collapse of the Soviet Union, which Bolduc had experienced during his travels, Tashkent is a meditation on the end of empires, and a lament for the fragility of history.

They include a small painting simply titled «# 1» (2000), in which we see a phallic armature moving from gray into light blue; another titled «# 2» (1995), in which a blue crescent bends around to become titanium white; a third, «# 4» (2000 — 1), in which a rising, two - pronged black organic shape ends in a touch of green and ultramarine at either end; and finally «# 5» (1991), in which a red finger - like form passes from black to crimson red.