Una resena de 300 palabras de la pelicula garra

Result #1

Una resena de 300 palabras de la pelicula garra Résumé! Most of the works in these exhibition consist of identical geometric shapes, usually diagonal or curving, and are hung in a horizontal format. They are black in color, and some are solid, so that the effects of light are suspended. A few of the more elegant paintings are dark, because of the dark colors. They seem to be about translucent paint, which, in itself, is not what they are. The paintings are usually very thin, and light is almost always suppressed by the opaque, light-filled paint. They are most successful in achieving the illusion of light, when the colors are too dark, or when the colors are not rich enough to allow for an adequate depth of feeling.The work that was shown here was made from 9 photographs and 2 paint-spray-on-canvas works. These works are like close-ups of seascapes, based on the same characteristic planes of reflection. I like them for their simplicity, their absence of gratuitous intensification of color. Some are certainly less interesting than others, but this shows mostly showed the simplicity of the shapes. The shapes are often very short, and this shows the lack of realization of a subtle visual sense, as well as their less ornamental appearance. An interest in this area is somewhat muted.It is important to note that the colors in these works vary from a light gray to a taupe. The colors of the work are not changed, and the transparency that one might expect from opaque paint is not experienced. The effect is that of a soft light. However, the texture and the inky quality of the paint gives it a sensuous quality. It is as if the paint is absorbing the light. The shapes that are used to create the illusion of depth, and those which contain that form the major element, are also there in the more abstract paintings.

Result #2

Una resena de 300 palabras de la pelicula garra <|startoftext|>In a work titled Burlesque, 2014, these words (along with the title) were inscribed on a black cardboard sheet, while lines of red, yellow, and white paint touched it, creating a gleaming pattern. The work contained three easel paintings, three small-format prints, and two large-format ones. Each was accompanied by a hand-drawn drawing, in which delicate strokes were interpreted as emotional signs of a caring body. In one corner, nine-year-old Elisa Visconti drawn in red sketched a house in a cemetery and the following lines included the name Venus: aged 55. Next to her, a slender figure sits in a chair, her head bowed at the waist. Beneath her, a gentle-looking woman with a furry face lies with her back to the viewer. Its her husband, Francis Saura, who is standing beside her. She seems to be sitting still, holding his hand. Her skin is white, she seems to be wearing a flower crown. She is in mourning. In another photograph, a cat with a bone in its nose leans against a grey-green wall, its whiskers and nose pulled back. The animal has a reddish-orange heart and a pair of eyes like a blood hound. The scene is a cemetery scene, a memorial to Saura. In another, the artist and her husband are sitting in a room with their backs to us, one on either side of the other. As they stare into the distance, we see the same woman with her nails stuck to her forehead. In a third photograph, Saura, his back turned to us, points his index finger at a man in his late twenties and holds a plastic flower from his fingers. In this scene, Saura is trying to piece himself together, while in another he is merely contemplating.

Result #3

Una resena de 300 palabras de la pelicula garra A fundamental lack in modernist sculpture, Boccioni maintained, was the very problem of material and the understanding of it. To explore the innermost and deepest layer of its material structure, he was to discover the essence of the world, i.e., the soul. But to attempt to translate an essence of the world into an object is to deny and fail in this endeavor. Yet this artist, who spent his career exploring the most basic materials, was, by his own admission, a little poor at the craft of carving, using found wood, the insufficiency of which he felt he had to overcome, or at least to postpone the time of the end of his life. As Boccioni once said, it is in this last stage of the artist that he makes the most progress. Such a resistance to material that Boccioni uncovered in himself and so failed to preserve to the best of his ability was symptomatic of his materialist attitude. Boccionis insistence that he was looking for a higher order of living, and that he could find it by thinking of the soul, cannot be interpreted in any other way than as a violation of his own principles of philosophy. In his attempt to fill the void of his own thought, he eventually failed.Hee, brotha (Boy, Brotha), as he called his boys, were stubborn in their pursuit of the outer surface, as they were wont to say. But he knew that it was impossible to reach them through the bodily shape of the body. Boccionis own foot was as different from a ballpoint pen as his hand was from a baseball bat, and that his own face was more than twice as big as that of his boys. If he couldnt reach them through this shape or form, he had to rely on the social dimension of the body.

Result #4

Una resena de 300 palabras de la pelicula garra ME! La ferme de matière de nada ano Estado y continua nom de una cierto...," [The text of a few words, of a meringue] (The text of a few words, of a chain, of nothing and continuance, to no common mother) is an unusual kind of text, one that tends to be ordered, as it were, into positive units. As in some other works by the artist, this text contains all sorts of linguistic sequences: parallel lines of word-for-word units, and alliterative combinations of words. In fact, Me! la ferme de matière de nada ano Estado (The text of a chain, of nothing and continuance, of nothingness) seems to be a chain of the same sort, a distribution of the same units across the same space, a repetition of the same word over and over. As a result, the work is not only as beautiful as it is brief, but also as fragmentary as it is descriptive. The text, which is slightly out of place, but a footnote in the history of the French language, acts as a record of what is happening at the same time it is happening: The verb that completes the phrase, brûlous, dates to the first century B.C., meaning something that means how or how not to act; the noun, tapié, comes from the adjective tapière, which means to turn or turn, and is a contraction of the verb to turn. The combination of brûlous and tapié, which implies a turn, is what gives the text its resonance.By contrast, Vé (turn), which means something that is on or off, is seen in the second layer.

Result #5

Una resena de 300 palabras de la pelicula garra <|startoftext|>I am not so sure that I will ever finish the job. , says the artist Javier Siqueiros work. This work, called que no se les corps environnales, is made of colored paper and ink and hangs on the wall, not far from the floor, to form a sort of static grid. The colors and textures of the paper, and their execution on the wall, are almost a puzzle. Siqueiros system is that, in the same way that any system is a way of thinking, every system is a way of thinking. Every system is a system of thinking. The walls of his exhibition, on the left, are divided into three categories: abstract, figure-ground, and pictorial. The subject matter is typical of Siqueiros work: black outlines, textured, and sometimes colored. The basis for these works is canvas. He has painted on the surface of the canvas that includes the outline of the figure and textured parts of the background, and then applied colored pigment on the surface. In this way, the color and the surface form a continuum, a continuum of color, an amorphous spectrum, that creates an aura of transparency and brightness. The color is applied with an intensity and velocity that is reminiscent of a flash of lightning. In the top section of the exhibition, we see three white splashes, together with the light blue splashes that resemble colored bubbles in water.In the middle section of the exhibition, Siqueiros work expands again: the figures of the landscape are now abstract, they are pictures of trees and buildings, and there is the figure of a girl whose name has been painted on a tree stump. In the center, a small figure is seen in silhouette. The girl is sitting in front of a fallen tree. As one moves closer to the picture, we see that she is standing on the ground and on a wooden table surrounded by other figures.