Sentences with phrase «with cartoon figures»

After a few years of doing murals with cartoon figures and representational painting in the 1940s, he moved in the 1950s to New York City because he said he «got» what de Kooning and Franz Kline were doing.

Also, compare their Fig 3 with the cartoon figure of this post.

Not exact matches

With his ideas made clearer by Phillipson's return to first principles, Smith emerges as a much more subtle and interesting figure than the cartoon freemarketeer he's often thought to have been.

Also, the original post was a cartoon envisioning the words / concepts represented by the Jesus figure, against the background of the Syrian refugees ---- what are your thoughts on the irony, applicability, and / or actions advocated by the Followers of Jesus (past tense) with the Followers of Jesus (present tense).

I also see that it's hard for me to figure out what np is getting at with a cartoon sometimes.

But then again, I think the cartoon might still work with a re-translation to the more rounded, globe - like footie / soccer ball, or a proper rugger oval (what's the term for a 3D oval figure, anyway?)

Her blog is really unique, and I had to include it because she draws hilarious little stick figure cartoons along with every posts, which makes it a blast to read.

the mosque people wont event meet with him; Bloomberg treats him like a cartoon figure; Silver looks like he can barely contain his contempt and Sampson looks puzzled that the guy was even a State Senator let alone is Governor.

«You have to spend more time with a cartoon to figure out the meaning of the illustrations, and the situation,» Rodriguez says.

So while I can remember admiring Flint enough to write his name on a radiator and lament the unusual disappearance of the file card that came with his action figure, I couldn't tell you anything regarding the universe or connect my young appreciation of the cartoon to any predilection whatsoever for the military or action entertainment.

He shares his discovery of his mother's old Underwood typewriter and how his storytelling evolved from «live» imagined stories with Fisher Price figurines to stick figure tales, then full length cartoons, and then longer text - based stories.

Surprisingly emotionally resonant, this reimagining of the classic Flintstones cartoon abandons flat figures for realistic character designs and balances slapstick laughs with melancholic, existential concerns.

First - time graphic - novelist Weing has produced a beautiful gem here, with minimal dialogue, one jolting battle scene, and each small page owned by a single panel filled with art whose figures have a comfortable roundness dredged up from the cartoon landscapes of our childhood unconscious, even as the intensely crosshatched shadings suggest the darkness that sometimes traces the edges of our lives.

Notice how Kaito blends wildly realistic characters with obvious cartoon figures - usually an artist would offer some variation on how «real» characters look for emotional or comedic effect, but this one leaves them be, as if to emphasize the motley mix of personality types the hero must deal with.

I love the cartoon style look, almost as if we are playing with figures designed by Nintendo, i feel like i have jumped into a characters shoes from Small Soldiers.

My life revolved around watching their cartoon, playing with multiple variations of their action figures and also watching the middling movies — which I loved at the time.

Figures come and go, with almost cartoon outlines, culminating in the semicircle of Attic and then his largest easel painting, Excavation.

A key figure of Australian art since the mid-1980s, Linda Marrinon has developed an idiosyncratic language of figurative painting and sculpture that merges contemporary cartoons with neoclassic tropes of the nude, reclining figure, and bust or standing portrait.

Already established as a painter, over the course of the 1990s Marrinon began to make diminutive terracotta sculptures of landmark buildings, figures and squat busts incised with cartoon - like simplifications.

It was a terrain where snippets of faces or figures taken from an ad, a cartoon, or a news photo, or that might be recognizable on their own — Alice, say, from Alice in Wonderland, or a figure from Goya, or Hopalong Cassidy — were magically interwoven with, or painted over, patches of fabric or abstract markings.

In these works, political paraphernalia commingles with cartoons, corporate logos, and art - about - art verging on the appropriationist: references to Bruce Nauman and Ed Ruscha appear alongside paraphrases of Philip Guston's well - known drawings of Nixon and large - scale versions of figures by Jean Dubuffet.

Turning painting into architecture, these works essentially function as political cartoons, populated by figures such as Barbara Bush, 20th - century religious prophet Aleister Crowley, and Dan Quayle, with themes ranging from the seven deadly sins and the four horsemen of the apocalypse to the great deluge.

It assumes cartoon form with Philip Guston, and it appears in more than just figure painting as well.

Joyce Pensato starts with the most iconic cartoon figures — Mickey, Minnie, Daffy, Krazy, Stan, and Homer — but her representations of them couldn't be further from their usual plastic media.

South's paper constructions have a faint echo of the stylistic rendering of objects and figures in Philip Guston's paintings from his «cartoon» phase, which is also brought to mind by Floor / Ceiling's illumination by bare, hanging light bulbs, with the naked bulb a frequent motif in many of Guston's works.

His dynamic polychrome forms confront the viewer with familiar yet fragmented forms: a virus, a cartoon figure, a carnival.

Imbuing familiar figures of American cartoon culture with psychological charge and emboldening them with aggressive, gestural physicality, Joyce Pensato reveals a darker side of American Pop.

Portraying a pair of gigantic figures with their heads lowered and with one arm around each other in a gentle embrace, the sculpture alludes to familiar childhood toys and cartoon characters while at the same time transforming their identities with a radical shift in scale, presenting them as monumental cultural presences...

Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat — the first image ever transmitted on TV — inhabit an «enchanted landscape» created in Nottingham Contemporary's galleries, where objects seem to be communicating with each other and with us.

I used to be very into cartoons and even with my color palette I was trying to figure out a way to seduce the viewer into looking at paintings with heavy subject matter without wanting to turn away.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

In contrast to the graphic, cartoon - like quality of Essenhigh's early works, the illusory depth of these paintings infuses the figures with a plausibility, yet the works remain true to the sweeping strokes and amorphous forms that have defined Essenhigh's visual vocabulary.

In one instance, the figures have been painted on fabric printed with multicolored cartoon ghosts, which seem to waver and vibrate as the viewer moves from one side of the canvas to the other.

Later, in the 1980s and»90s, Erró filled every inch of his canvases with brightly colored cartoon and comic - book figures, all vying for our attention.

Everyday events such as a picnic in the park, supermarket shopping or drinking at an inner - city bar are transformed into grand, sometimes humorously epic scenes where the artists» cartoon - like figures fuse together with the trails and currents of energy that animate the canvas.

The exhibition traces the development of Sillman's work over the past 25 years — from her early use of cartoon figures and a vivacious palette, through to her exploration of the diagrammatic line, the history of Abstract Expressionism, and a growing concern with the bodily and the erotic dimensions of paint.

The cartoon line moved effortlessly from the figure to landscape, always playing with problems of physical and emotional scale, frequently to humorous effect (trees are bigger than people; the figure's anxiety is bigger than the tree!).

Characters, often mimicking members of Mull's family, are shown as cartoon figures interacting with human beings styled in 1950's attire.

He belongs to the generation of Terry Winters, Elizabeth Murray, David Reed and Jonathan Lasker but in some strange way, if we're looking back to the mid-eighties, we have to include New Image painters like Susan Rothenberg, Neil Jenney, and Robert Moskowitz who were working in between the figure and abstraction with a kind of condensation and compression, in relationship, lets say, to cartoon imagery.

Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat — the first image ever transmitted on TV — inhabit an «enchanted landscape» created in the Pavilion's galleries, where objects seem to be communicating with each other and with us.

Adam has been making large, super-saturated paintings of deconstructed cartoon - y figures and scenes with a sort of implied narrative.

In the Making pairs an example from Warhol's Myths series, a suite of ten portraits of cartoon figures and other cultural emblems, with a silkscreen by Condo that conveys his own hybrid style of the grotesque while reflecting the influence of his past mentor in surprising ways.

The American street artist Keith Haring is famous for his instantly recognizable style of urban graffiti art - executed in marker ink, acrylic and Day - Glo paint - with its thick black lines and distinctive cartoon - like figures and forms.

While cartoons and cultural ephemera still provide her with subject matter, the works on display at Lisson Gallery speak more of Pensato's ongoing experimentation with technique, as well as the positioning and fragmentation of figures.

The large scale work stands strong with intricate compositions of cartoon figures that flow throughout the paintings.

His recent show, «A Superficial Lyric», at Nathalie Karg Gallery in New York, juxtaposed large fresco abstractions with graphic cartoon images of a figure walking in the rain.

I just figured these are cartoon manifestations of people Hugh has dealt with, overheard, or even been at times.

While Mantegna inspired him, Webster also seemed to be recalling the vast spaces of movie crowd scenes, filled with teeming figures, from cartoons to monster films to historical dramas.

And, having the molehill the other direction with the figures tripping over it would have added another valuable implication to the cartoon: dealing with the «Fiscal Cliff» almost certainly will not help in addressing climate challenges since critical climate science, environmental, and clean energy programs are going to suffer fiscally — whether there is some form of bipartisan agreement to «solve» the Fiscal Cliff or whether Republican intransigence pushes the nation over it.