Sentences with phrase «while painting outside»

Why should we care about what some painter feels while painting outside?

While painting outside, I met other plain air artists.

Not exact matches

Although the face - painted communicants on the sidewalk were obliged to skip church on Sunday, they were free to while away the pregame hours outside Earls, flipping to the Vancouver Province's letters to the editors page.

While he does show nice form on his free throws, I'm not sure he'll do well enough from long range to compensate for being out of position outside the paint.

While in that project I painted the outside of the glass, this time I wanted to try painting the inside of the glass, which is what the intended technique for this spray paint is (if you want the reflective side to show on the outside).

These scenes are quite suspenseful and well done as the psycho drives down the LA freeway while the half - crazed young lady boldly follows Jordan's orders to gain attention by kicking out the taillights, waving her hand to outside traffic and pouring paint out of the trunk.

Stallone gives Henry a more laid - back persona of a man comfortable with his post-boxing life while De Niro paints Billy as an emotional hothead who hasn't been able to let go of the past despite a successful career outside the ring.

It's a film full of many ironies, perhaps none grander than the fact that it's a story that exalts nonconformity, while at the same time, being completely traditional and afraid to paint anything outside the numbers.

While we miss the Volvo stand's coffee, local Volvo dealers set up a display of models, all in white, just outside the Cobo Hall show floor, where Mitsubishi nearby flanked a Mirage sedan with an Outlander on one side and an Outlander Sport on the other, all in dark paint colors, on an unadorned display in a dark corner.

On the outside, KW Suspension components lower the car, while 20 - inch wheels and a tri-color paint scheme contrast with die - cut vinyl graphics.

On the other hand, the ORVMs and the door handles have been painted in the body color while the outside rear view mirrors have been bestowed with side turn indicators.

A set of unique 16 - inch wheels have been designed to slice through the air more efficiently, while there's a two - tone paint job on the outside and a lighter colour scheme for the interior.

The cabin was upholstered in mixed alcantara and leather, with carbon fibre accents; outside the door handles were painted in body colour, while the exterior trim, the 20 inch wheels and the exhaust pipes were finished in a «dark chrome» shade.

dark gray painted alloy wheels and a chrome - tipped exhaust gives the Avalon a look that is sophisticated and a little bit sporty, while color - keyed heated, auto - dimming power outside mirrors with turn signal indicators keep you and others around you in the know.

Merida is a perfect city to base yourself while exploring the many things to do inside and outside of the city — like museums, bustling and vibrant markets, pretty and relaxing parks, off the beaten path / lesser - known and popular Mayan Ruins, beautiful cenotes deep within the jungle, the yellow - painted town of Izamal and more.

The paintings feel distinctly urban, evocative of the flashes of things glimpsed at the periphery while looking at what's ahead, a red paneled truck or the painted - over outside wall of a corner store.

The early works, such as Botticelli's Virgin Adoring the Sleeping Christ Child, which has not been exhibited outside of Scotland for more than 150 years, are religious paintings while later works from the Renaissance masters, 17th - century painters, Impressionists, Post-Impressionists, and Cubists include different genres of paintings such as portrait, still life and landscape, and represent the changing treatment of those genres over time.

The rest are reduced to an «installation view» of wall - hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont «s concurrent L'Age D'or exhibition next door comes in two square concrete «chairs», designed for the almost empty garage cubicles outside.

Sometime in November or December, while working at night at Dartington Hall and listening to the horses breathe in the field outside his window, he painted a series of three paintings,» Broadway», `' Welcome Hero», and `' Broadway Norm», in the style that would become known as «white writing» (an interlacing of fine white lines).

Working alongside Color Field painters such as Kenneth Noland and Thomas Downing, Gilliam elaborated upon Color Field processes and aesthetics while subverting Greenbergian notions of the «integrity of the picture plane,» and disrupting the boundaries between the visual world of painting and the tangible world outside it.

Utilizing found objects to create an otherworldly yet traditionally based format, the image of a large female figure and its smaller companions are done in the style of traditional Indian painting, while delicate fabrics interweave amongst images that swirl and stream within and outside the two wooden panels — thus making it engaging and contemplative to look at.

It occurred to me that I'd started the twelve paintings for this exhibition in the driest, dustiest time I can recall and completed them while watching it rain outside my window.

«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.

In her first solo exhibition at the gallery, Commito will show paintings that, while abstract, also look beyond their own geometric formal language to the world outside them — conveying the artist's interest in architectural space, the materiality of our everyday surroundings, and the productive process by which impressions and recollections are converted into images.

The Elevation of the Cross (1718), by Mexican painter Antonio de Torres, will enhance LACMA's leading collection of Spanish colonial painting, while Oxen and Shepherds (18th century) by Soga Shōhaku is a rare addition of a large - scale Japanese work for a museum outside of Japan.

These plays between inside / outside, mind / body, felt / seen are explored throughout the exhibition, including in the nearby Listening to Haruki Murakami while looking at a sunset (2016), a network of squares painted in a palette of soft peach and gray acrylics, realized at the same scale.

While Arning's «UIA: Unlikely Iterations of the Abstract» will address contemporary reworkings of modernist ideals and his «Painting: A Love Story» will explore gestural pleasures, Daderko's «Rites of Spring» and «Outside the Lines» (after which the larger project is named) will look past painting's ineluctable flatness via the work of an irreverent progeny of emerging artists from Michele Abeles to Abigail Painting: A Love Story» will explore gestural pleasures, Daderko's «Rites of Spring» and «Outside the Lines» (after which the larger project is named) will look past painting's ineluctable flatness via the work of an irreverent progeny of emerging artists from Michele Abeles to Abigail painting's ineluctable flatness via the work of an irreverent progeny of emerging artists from Michele Abeles to Abigail DeVille.

Heinz writes: «While artistic experimentation has been a kind of tour - de-force, somewhere outside of painting, Waltemath has aggressively insisted that paint is still a frontier.»

Martin's wicker - crafted objects feature wild lines of spirals that burst with a sense of kinetic energy, while Lawless's paintings, inspired by the Andromeda Galaxy, depict a universe swirling outside our control.

Palermo emphasized the flexible partitions of the Kunstverein in oxblood red paint while leaving the outside wall white and drawing the topographic layout of the partitions onto the main wall.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

glowed outside the stand, while the massive painting Holbein (Artist's Watercolours) by fellow YBA Damien Hirst held predominance inside as it also reflected in Liu Wei's mirrored sculpture, Puzzle.

Paintings and wheatpastings from Swoon were mounted on strange materials, like a broken fence and old door, next to a paint can installation by Aiko, while a giant mural by Boxhead took over the wall outside the lavish building.

Similarly, the two vividly colored paintings from the 1990s at Cheim & Read (both called «Trees» and dated 1990 - 91) as well as the churning «Cypresses» from 1975 (which, like 1964's «First Cypress,» employs chrome green and black) concentrate more on their own making than on outside indicators, as slashing brushstrokes coagulate into groupings of unstable forms while carving out deep recesses of space.

In her first solo exhibition at the gallery, Commito will show paintings that, while abstract, also look beyond their own geometric formal language to the world outside them — conveying the artist's interest in architectural space, the materiality of our everyday surroundings, and the -LSB-...]

Roger Brown: California U.S.A, currently on view at the Hyde Park Art Center, explores Brown's Virtual Still Life paintings and the intricate relations that formed while working in his home in California.Meg Onli: How did this exhibition evolve and how did you decide to show Brown's collection outside of his homes?

While many galleries have frosted windows or restrict exhibitions to inner rooms, isolating them from the street, Steven Harvey has a floor - to - ceiling window in front, which generates a dialogue between the world outside and the paintings on display.

While each painting (varying in size; averaging around 50 x 50 cm) is an unmistakable masterpiece, the connections they attempt to bridge between an outside and an inside, furniture and room, room and house, house and world feel necessarily incomplete, blurred, undone.

«It really only took me maybe an hour to paint my front door on a beautiful Tuesday night with a glass of wine while my boys were running around outside.

I took the piece outside to work some magic while I painted some other pieces.