Sentence examples for surface of a painting from inspiring English sources

She proves, as the Tachists and many others have, that the surface of a painting will forgive a multitude of sins.

A blanket glued directly to the surface of a painting has a kneaded, twisted texture, like the aftermath of a struggle.

The idea that music can somehow reverberate from the flat, dumb surface of a painting is a recurring conceit of art history, whether in the angel concerts of the Renaissance or in the abstract syncopation of Mondrian's "Broadway Boogie-Woogie".

For the Mona Lisa wears a fine veil of craquelure – that pattern of tiny cracks that can form in the surface of a painting when it's as old as she is – that is more or less impossible to fake.

The perceptual and conceptual methods of representing volume and space on the flat surface of a painting are related to the two levels of understanding spatial relationships in everyday life.

In it he argued that the Old Masters of the 16th century used the fact that mirrors and lenses could project a subject on to the surface of a painting: he's still sore at the way the art-history establishment collectively froze him out.

Sometimes Albertine's face looks dull and sullen, sometimes glowing and sultry; sometimes his gaze is arrested by the pink tip of her kittenish nose, sometimes his eyes slide over her rosy cheeks as if they were as frictionless as the surface of a painted miniature.

Essentially the many pieces may be called "manipulated found objects," meaning that Mr. Clark can simply yet convincingly stack pieces of paving stone or fit strips of metal together to form a surface reminiscent of a painting.

John Currin apologized for the drab surface of a new painting in his studio, on the westernmost block of Fourteenth Street — an area dominated by meatpackers which is rapidly artifying along with the gallery boom just to the north, in Chelsea.

By Peter Schjeldahl John Currin apologized for the drab surface of a new painting in his studio, on the westernmost block of Fourteenth Street — an area dominated by meatpackers which is rapidly artifying along with the gallery boom just to the north, in Chelsea.

Mr. Simons is such a good contemplative designer that you don't necessarily connect the brush-stroke pattern of wool felt coats in overlapping shades of gray, white and beige to 1960s ceramics, any more than you might think of the history-conscious sculptures of Matthew Monahan or the dry surface of a Rothko painting, although Mr. Simons said he had these ideas and textures in mind as well.