A show with many figurative and still life oil paintings titled "Soaring".

Result #1

A show with many figurative and still life oil paintings titled "Soaring". In each of the paintings, a sort of figure or figure in a landscape or landscape setting is made to seem to leap out of a black void, as though in an alien landscape. In one case a figure is made to leap out of the darkness, as though from a black hole. In the one painting where the figure is made to appear, the figure is made to look like a piece of canvas, with a black hole as its center. The black hole seems to be the sun. In a few other paintings, the figure seems to be a tiny figure, like a figure in a landscape. But in all the paintings, the figure seems to be a small shadow. In one case, a figure seems to be a very large, very beautiful woman, a woman who looks like a miniature version of the sun. In another painting, a figure is made to look very small, like a tiny moon. The sun is hidden behind a mountain, and the woman is hidden beneath a mountain. The mountain is a very small figure, a very beautiful woman. In the paintings, the sun is almost obscured by a mountain, and the woman is hidden beneath a mountain. In another painting, a mountain is visible, but the woman is hidden beneath a mountain. The mountain is also a very small figure, a very beautiful woman. In another painting, the mountain is only vaguely visible, as though it were a mountain that couldnt be seen from the right. The woman is hidden beneath a mountain.The paintings are almost all black and white. In the painting titled, soaring, a woman is seen from above, and her back is turned to us. She appears to be levitating, as though floating in the void. The figure is very small, and she looks almost childlike. The landscapes are painted in a dry, semi-reflective style. In one painting, a mountain is visible on the horizon, but it is so small as to be almost invisible.

Result #2

A show with many figurative and still life oil paintings titled "Soaring". From the series of Untitled, the two black canvases, Untitled, both 1987, were displayed. The first is a single, flat black field with a bright white rectangle on top, which is broken up by a few thin, white lines that suggest a higher horizon line and a few lines of white. The canvas is divided by a few thin lines that suggest a higher horizon line, but the visual separation is broken by the right side of the canvas, which is painted white. The other white canvas, Untitled, 1987, is divided by a row of four thin, black lines. The top line, which is divided into four segments, is painted white. The other, smaller rectangle, is divided into two segments and divided by a row of thin, white lines. The white lines suggest a lower horizon line that is impossible to see, which is repeated in the smaller rectangle, where it is seen, and in the larger canvas. In the series, the lines, like the horizontal lines, are broken up into smaller sections, and the upper section is the same size as the lower section. The white lines are like the upper section and the smaller rectangle, but the lines are broken up and the smaller section is smaller. In both, the upper section is seen from a distance, and the lower section is seen through the top line, where it is visible to the right and left of the line. The two black canvases, Untitled, 1987, are divided into two segments, one black, one white. In both cases, the smaller portion of the canvas is broken up and the upper portion is visible to the right and left. The canvas is divided into four segments, with the lower segment of the upper section and the other of the lower. The two black canvases are divided into two segments, one white and the other black. The white section is divided by a row of thin, white lines, which suggest a lower horizon line.

Result #3

A show with many figurative and still life oil paintings titled "Soaring". It is a pity that the show is only partially available, for the individual works are so small and the selection of paintings so limited. The show is probably the most interesting to the casual viewer, since the art is so much more than the sum of its parts. It is also more than a mere group of small paintings, as is the case with some of the groupings. The only way to get beyond the work of these artists is to look carefully and to see how it is made. Many of the artists are very young, but they have been working together for years and have gained a great deal of confidence in themselves. Their work is very personal and they are not afraid to express themselves. The works in the show are not intended to be large, but they do have a definite, coherent, self-contained form which they are able to manage.The paintings by the young American, Doug Edges are all very personal. The paintings are very small, only a few inches square, and the dimensions of the canvases are very close to the level of the stretchers. Edges works with a lot of freedom and is very direct. The canvas is divided into a number of different sections, and these sections are all of equal size, but are all painted in different colors. The sections of the canvas are painted in layers of various colors, sometimes several layers thick. The layers are so light and so easily visible that it is almost a matter of looking at the painting through a microscope.Edges work is much more direct than that of any of the others. It is the only way to work in the style he has chosen. It is a very direct way of working, with a lot of ease and confidence. He uses paint in a way that is as free and open as possible. The painting is not limited by any preconceived idea of what the work is to be. It is not limited by a rigid idea of size or the space it should occupy.

Result #4

A show with many figurative and still life oil paintings titled "Soaring". The most striking paintings are those which deal with the theme of ascent. They are very successful in this respect. The problem with them is that the artist, in his attempt to make them all seem a little too complete, often resorts to a kind of off-key, cruder technique which, if it is to be taken seriously, must at least be considered. The work is not as good as it could be, and the fact that it is not in the show is not enough. The other paintings, as in the rest of the show, are all too often made by artists who are, as in the show, not as good as they could be. In short, the show fails. It is not a particularly good one, and, worse, it is not really a show of works of art. It is a show of what, at this moment, are the most marginal artists. The most notable exceptions are Robert Mangold, who has been doing the best he can without getting much recognition, and in my opinion, he should. It is only a pity that he is not getting much recognition. He has been very active, and has had a great deal of influence on a number of younger artists. Robert Irwin, with his obvious, if somewhat different, technique, and the influence of Joseph Cornell, are very much in the show. I think the most interesting artist in the show is Philip Pearlstein. He has done a great deal with technique and color and has had a great deal of influence on a number of younger artists. His work is both crude and refined, but it is not crude, and it is not refined. It is not crude because it is crude, and refined because it is refined. Pearlsteins work is not, as some have said, crude because it is crude, and refined because it is refined. Pearlsteins work is not crude because it is a crude crude work, and it is not refined because it is refined.

Result #5

A show with many figurative and still life oil paintings titled "Soaring". A large painting titled Ondulante (Ode) (Untitled [Ode]), ca. 1967, shows a figure soaring through space, while a painted-over picture of a vase of flowers occupies the lower half of the canvas. In a series of eight oil paintings titled La Vase (Vase), 1969–70, small figures are placed in the spaces of the paintings, their soles of the shoes and their heads covered with a cloth. This is a French fashion statement, the figures are not painted but are painted. The pattern of the cloth and the soles of the shoes are reminiscent of the backless figure in the Picassoid series of the early 60s. The general tone of the show was somewhat surreal, with works such as Tête à la musique concrète (Self-Portrait), ca. 1970–71, a painting of a young woman with her arms bound by a chain around her neck, and La vase, ca. 1971, a work in which a woman, partially covered by a cloth, appears to be in a trance, her arms bound with a chain around her neck. In a small painting entitled La tête de la musique concrète (Self-Portrait), ca. 1970–71, a figure is seen in a state of ecstasy. Her hands are bound by a rope around her neck, and she stares at a mirror, a cup of coffee, and a book of poems, all of which are shown framed in the composition. In this work, the figure, like the woman in the mirror, is partially covered by a cloth, and it is the rope that connects the legs of the woman in the mirror. A large oil painting titled La tête de la musique concrète (Self-Portrait), ca. 1970–71, shows a figure whose arms are bound by a rope, which runs along the left shoulder of her back.