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Image of Painting - "I always played in the woods. Had favorite places to go, always in the woods or creeks. One place I loved in the summertime, you had to walk to miles in the sun to get there. Hot. Had to clear a passage thought briars. It made a doorway into these cool giant woods. Little undergrowth. Contained." Today, Eric Lawing similarily repeats that journey in paint. Whole body and being along a charted course, tearing through a tangle of emotional briars into a cool, giant consciousness. Lawing's paintings are about the size and wieght of a solid door. Vertically, they are his basic height, his arm span width, the width of a well worn path. "What went there affects me. Sense of the tragedy of it. The woods in general. The competiton for life. The feeling of it is a big part of my work. Death and life. And whatever the animals are doing." Before the Woods series of paintings, Lawing was working primarily in a monochromatic scale. He went into the woods looking for color. he left the woods and found more color. The past two years, he has been painting in a studio exposed to the elements under his house, where he created the works in Between Earth and Sky. "Rather than staying in one place, painting is like an exploration of larger amounts of consciousness. If you get far enough into it, the consciousness is more connected the way I believe that all consciousness is connected." The grid mau symbolize strength, like reinforcing mesh in concrete. It supports time and matter, emphasizing that  the painting ultimately refers only to itseltf. With humble vision, Lawing allows existing reality to enter the doors of perception unchallenged. Therefore what exists is invariably beautiful.

Painting - "I always played in the woods. Had favorite places to go, always in the woods or creeks. One place I loved in the summertime, you had to walk to miles in the sun to get there. Hot. Had to clear a passage thought briars. It made a doorway into these cool giant woods. Little undergrowth. Contained." Today, Eric Lawing similarily repeats that journey in paint. Whole body and being along a charted course, tearing through a tangle of emotional briars into a cool, giant consciousness. Lawing's paintings are about the size and wieght of a solid door. Vertically, they are his basic height, his arm span width, the width of a well worn path. "What went there affects me. Sense of the tragedy of it. The woods in general. The competiton for life. The feeling of it is a big part of my work. Death and life. And whatever the animals are doing." Before the Woods series of paintings, Lawing was working primarily in a monochromatic scale. He went into the woods looking for color. he left the woods and found more color. The past two years, he has been painting in a studio exposed to the elements under his house, where he created the works in Between Earth and Sky. "Rather than staying in one place, painting is like an exploration of larger amounts of consciousness. If you get far enough into it, the consciousness is more connected the way I believe that all consciousness is connected." The grid mau symbolize strength, like reinforcing mesh in concrete. It supports time and matter, emphasizing that the painting ultimately refers only to itseltf. With humble vision, Lawing allows existing reality to enter the doors of perception unchallenged. Therefore what exists is invariably beautiful.

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Graphic

Graphic

Object Type: Object

Image of Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses  some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Painting

Painting

Object Type: Object

Image of Graphic

Graphic

Object Type: Object

Image of Graphic

Graphic

Object Type: Object

Image of Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses  some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Painting

Painting

Object Type: Object

Image of Graphic

Graphic

Object Type: Object