Sentences with phrase «while painting the image»

Not exact matches

It paints an image of orange robed power - brokers doing business while incense wafts in the background, or of be-suited Buddha's on cell phones focusing on compassion over profits.

He paints images of the bird while she flaps around in his room, and the connection between the two is wonderful.

For many people, though, the Scura's main talking point is the rather nifty matt black paint scheme, while inside there's a plethora of carbon fibre elements to help extend the lightweight image.

While he is busy creating art and stories for books, he is also busy painting images of fish, seascapes, and landscapes redolent with evidence of his beloved life as a Cape Codder.

Throughout a boutique getaway you encounter signature touches from famed fashionista Karl Lagerfeld, while French interior designer Isabelle Miaja lends modern flair with vibrant graphic images and vivid paintings.

While images of St. Sebastian were often an excuse to paint the human figure, not all martyred Saints were this «elegant».

While these images don't showcase buddy characters such as Mia they do paint a bloody image of the powerful enemies the player will encounter throughout their journey.

Gottlieb, for instance, tells Goodnough that painting is «not only a matter of colors and shapes on canvas, but images made visible and integrated» (p. 58) while Baziotes gives a contradictory statement, remarking that «reference to existing objects is not particularly helpful in contemporary painting.»

As we chatted and she re-lived a part of her childhood while we stood in front of her painting, the image evoked for me memories of driving through the snow - covered countryside during my own first winter in Canada.

While all these artists resisted the pressure to paint images that told stories of black experience, most were very politically engaged.

While the deluge of instant images no longer possesses the power to shock, the slowness of painting enables Jones to ruminate on what he has witnessed.

The canvas and blocks provide information about qualities of the object that are missing from the silkscreened image, while the angled image of the photo - silkscreen exhibits properties that are both similar to and different from those of the painted object.

Her paintings contain the photographic image while rendering it effectively invisible.»

To write about a painting from a painter's perspective, I would ideally be looking right at it while I wrote, and not at a photograph or an image on a screen.

I mean as much as it creates greater ambiguity, it also reveals both a sense of history of the layering of the paint while, at the same time, anchoring the whole image so that it doesn't float in the picture plane.

While Schnabel has been making paintings with spray - paint for more than thirty years, the body of work on view in Enigmas remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

Yayoi Kusama, ever interested in the proliferation and repetition of image and self - image, contributes surprising new works from a recent body of portrait paintings, while Grayson Perry's ceramic portrait Transvestite looking in a Mirror depicts the artist as his alter ego Claire.

The whole process was thus based on photographic images, while the issue at stake was the difference between a painting (an artwork) and a press photo.

As an undergraduate art history major who didn't start painting until several years later, I studied the paintings from an academic perspective, so stumbling across these old familiar images now that I've been painting for a while is exciting.

Multiple layers of geometric and gestural marks are silkscreened and hand painted over these flattened images creating a rhythm within the painting while obfuscating the original subject matter.

Liu has invented a kind of weeping realism that surrenders to the erosion of memory and the passage of time, while also bringing faded photographic images vividly to life as rich, facile paintings.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

He used personal snapshots for portraits and family scenes as well as images from the mass media, and by deliberately blurring the image while painting created a certain distance from the pictorial content.

The shadows, poses, and fragments, from an unknowable past, feel compelling to me; and while I paint from someone else's gaze, the images... Continue reading →

While there is a nod to primitivism in every of Eisenman's images, her paintings are not exotic — there is nothing mysterious or romantically imagined in the strangeness she depicts.

While these images would seem at first to be fairly simple atmospheric, realistic renderings of colorful balls, a closer examination will reveal that the surfaces of Gibson's paintings are deeply scored by the artist in geometric patterns that sometimes conform to, and in other instances defy, the outlines of the spheres rendered in paint.

The photographic image, it's digital reproduction, and the acrylic abstract painting sit as separate medium - specific layers, while also compressing into a single composition.

Male artists as well, such as Richard Tsao, use the richness of paint to blur the edges of an image, while others channel past styles more overtly.

His mind's eye has one image offering the mystery of an operatic masked ball while another is reminiscent of a Robert Motherwell painting.

Much of the meaning of Liu's painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed — but often concealed — in the photographic instant.

This work significantly augments the ICA / Boston's painting collection while also building on strategies of artists such as Sherrie Levine and Cady Noland that introduce notions of the painterly, the decorative, and the use of digital circulation of images into their work.

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

While they appear to be clearly abstract, they also have a powerful effect on the viewer to seek out an image within the paint, whether that image is a reference to an art historical moment or another source.

In the 1960s, while Minimalism and abstract painting were ascendant in New York, surrealistic, fantastic and comical image making ruled in Chicago, where artists like Jim Nutt, Christina Ramberg and Roger Brown evolved what became known as Chicago Imagism.

Walker Evans» Erosion Mississippi (1938) documents the rural landscape in the United States during the Depression, while Aaron Siskind's images of scarred urban walls recall abstract expressionist painting.

Starting with his earliest works from the early 1950s, Rivers painted figuratively, at first turning away from the fashionable expressionist abstraction of Pollock and de Kooning, He would later incorporate the paint application and openness associated with Abstract Expressionism, while always remaining firmly representational, never losing the image.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

His latest carved plaster tablets and graphite drawings arrive at similar aesthetic states but from opposite directions: the painted tablets respond to surface texture and chance operations, excavating compositions through deconstructive sgraffito techniques, while the drawings depart from landscape imagery and are built up into complex, almost - recognizable images created through a process of repetitive mark - making, erasure, and re-drawing.

It's no secret that women artists are underrepresented in the art world, while their image, painted by the brushes of men, is one of the oldest artistic tropes.

Her canvases are unprimed and the sometimes bare surfaces are a deliberate part of the work, just as while some paintings imply the image continues beyond the physical constraints of the canvas, others are literally framed.

Deeply aware of the historical precedents of abstract painting, he sometimes evokes images and memories, while at other times uses the elements of painting to their own ends.

Adolf Gottlieb, the Abstract Expressionist, used bursts of red pigment as image and as structural element, while Josh Smith now churns out messy abstract paintings like child's play — or like an emerging artist's assembly - line product.

Doig's painting Echo Lake is a David Lynch - like image of the nocturnal menace of the great outdoors; Bourgeois drew all night because she had insomnia; while Blake, long before the surrealists, drew his dreams.

While Sendor has an educated consciousness of the history of painting, particularly studying artists such as Caravaggio, Vermeer and Goya, he strategically employs pictorial devices influenced by the circumstances of image consumption of today, deviating from traditional painting vernacular.

It's telling that «Ocean of Images» begins with DIS but ends with Katharina Gaenssler's Bauhaus Staircase, a photo - wallpaper installation that dutifully revisits the history of that famous school of art and design while referencing Oskar Schlemmer's beloved 1932 painting Bauhaus Stairway at MoMA.

di Suvero, seven years older, directed it back to abstract sculpture, while Shapiro overlapped what critics then called new - image painting.

While she draws inspiration from tangible objects or images, von Heyl's paintings are not representations of real things in the world.

[iii] But this full consciousness was also an internal state, and while Graves painted identifiable animals and plants, his were paintings of internal images, a «vision of the inner eye.»

In both cases, the dense treatment of the surface straddles the line between sculpture and image while exploring painting as an idiomatic language.