Hines said that he kept aside the Photoshop and all the programming software. He worked about 10 years discovering the Microsoft paint. He struggled for late nights at a hospital reception counter. He means to say that he worked very hard for gaining success in this experiment.
He later joined the administration of President George W. Bush as Secretary of State, the nation's first Black head diplomat. His tenure at the State Department was largely defined by the aftermath of the Sept. 11, 2001, terror attacks. He was the first American official to publicly blame Osama bin Laden's al Qaeda network, and he flew to Pakistan to demand that then-President Pervez Musharraf cooperate with the U.S. in going after the Afghanistan-based terror group. (It was in Pakistan where bin Laden would be killed nearly 10 years later.)
Pat Hines Created Images Using MS Paint After 10 Years Of Hard Work
After joining the Society of the Holy Child of Jesus to become a nun, and later earning degrees from Villanova and Boston University, she taught at elementary schools in New Jersey, Pennsylvania and Massachusetts for more than a decade before being assigned to work in Nigeria. Rice spent 23 years in West Africa, where she learned about the plowshares movement, a reference to a Biblical passage ("They will beat their swords into ploughshares") about the end of war. Her activism was also heavily influenced by her uncle, who spent four months in Nagasaki, Japan, after it and Hiroshima had been leveled by atomic bombs.
Refusing to work in movies without control, Van Peebles wrote and produced several plays and musicals on Broadway, including the Tony-nominated "Ain't Supposed to Die a Natural Death" and "Don't Play Us Cheap." He also co-wrote the 1977 Richard Pryor film "Greased Lighting," about Wendell Scott, the first Black race car driver. He penned the screenplay for "Panther," adapted from his novel and directed by his son, Mario Van Peebles. He also recorded several albums.
Truly great MS Paint artists lean in hard to the program's limitations, using the small colour palette and grubby brushes to add texture and character to their images. This evocative portrait of the Joker by Lucas Gomes DeSouza stretches Paint to its limit. We'd kill to see a whole story drawn this way.
Contemporary art is an area of top priority for ongoing acquisitions. In recent years, we have intentionally focused on strengthening our holding by women and minority artists, especially African-American and Latino artists, offering diverse perspectives and approaches that reflect a multitude of experiences throughout our cultural history. Significant acquisitions include sculptural works by Elizabeth Catlett (1915-2012), Whitfield Lovell (b. 1959), and Rina Banerjee (b. 1963); paintings by Jacob Lawrence (1917-2000) and Ria Brodell (b. 1977); prints by Luis Camnitzer (b. 1937) and Jay Lynn Gomez (b. 1986); and a neon sculpture by Patrick Martinez (b. 1980).
Inspired by his long career as an educator and artist, Albers began the series Homage to the Square in 1948 while working at Black Mountain College, a radically experimental liberal arts college in the Blue Ridge Mountains of Western North Carolina. Believing that students could only understand artistic form through close observation and repetition of its individual elements, Albers encouraged his students to carefully examine the relationships between and among colors, lines, and other pictorial elements. This practice inspired his own work, resulting in the long-running series of paintings and silkscreens, which he continued after taking over the Department of Design at Yale, and after retiring from teaching in 1958.
Peggy Bacon, born to artist parents, followed in their footsteps by attending the Art Students League in New York during its heyday, where she studied with George Bellows, John Sloan, and other American realists. Though she trained as a painter, her earliest work was in drypoint, a printmaking medium in which the painter scratches a design directly on a metal plate with a specialized needle. During the 1920s and 1930s she turned to oil pastels, using them to execute a series of caricatures of her contemporaries in the New York art and intellectual worlds. These pastels, which demonstrate her flair for witty exaggeration, brought her a great deal of fame as they were published in The New Yorker, Vanity Fair, and other widely read magazines. She was also a prolific illustrator of books.
Alan Feltus earned an MFA in painting from Yale University in 1968, during a time when abstraction dominated at the school, and Minimalism and Conceptual Art dominated the broader art world. Declining to follow those trends, Feltus instead developed a highly personal figurative style, one which won him the coveted Rome Prize in 1970. During his two years in Rome he engaged in deep study of classical and Renaissance art, drawing considerable influence from both ancient sculptures and Old Master paintings. Rather than working from models, as is common for figurative painters, Feltus works from photographs of artworks, combining features from various works into a single, rigorously composed whole.
Gregory Gillespie came of age as an artist in the late 1950s, towards the end of the heyday of Abstract Expressionism, and studied at the San Francisco Art Institute in the early 1960s under such Bay Area Figurative painters as Elmer Bischoff and Richard Diebenkorn. Gillespie rejected the wide open, painterly brushwork of both movements, instead settling on a minutely rendered realism influenced by the Italian Old Masters. He was indebted, however, to Abstract Expressionism for his approach to painting, which was grounded in the complexities of individual psychology, demonstrating an almost obsessive need to investigate the contours of individual experience through his work. This is particularly true in his self-portraits, which make up a large percentage of his overall oeuvre.
Richard McLean, who studied with Richard Diebenkorn at the California College of Arts and Crafts, was one of the leading painters of the Photorealist movement of the 1960s and 1970s. Working in oil, watercolor, and lithography, he created minutely observed images of Western subjects, in particular horses. For his earliest works he used black-and-white halftone reproductions of race and show horses he found in magazines, adding his own color as he translated them to paint. He soon graduated to taking his own photographs, which allowed him greater control over the composition of his works.
This work dates from a transitional moment when she was working out the terms of her abstract painting, a shift that would soon result in very large, often shaped canvases. This relatively modest work consists of a dark, muddy, and scumbled surface, the color of which she developed while closely studying the work of Spanish Cubist Juan Gris. This surface is crisscrossed by blue and red lines which create a series of irregular geometric shapes. Murray, who always embraced the materiality of the painted surface, engages here with some of the terms of contemporaneous hard-edged abstract painting without sacrifices her commitment to earthy, even embodied materiality.
Some artists have been able to create incredible works of art with the simple program. Pat Hines, known as CaptainRedblood on Devinart created a whole series of Harry Potter-inspired works using just Paint. 2ff7e9595c
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