Sentences with phrase «american landscape tradition»

Her work engaged a range of art movements, including surrealism, Abstract Expressionism, the Northern California modernist tradition represented by Adams and White, as well as the broader American landscape tradition embodied in the photographs of Harry Callahan and Ralph Eugene Meatyard.

Claire Sherman's paintings are rooted in the American landscape tradition.

Grimes» large - scale paintings of the wooded landscape evoke the majesty of the American landscape tradition with all the fervor of the Abstract Expressionist movement.

His work represented the maturation of the great American landscape tradition, and his painting of the Valley of the Yosemite in California has been called his crowning achievement.

Not exact matches

The collection presents photography of the U.S. along its highways and captures our changing landscape that has been shaped by car culture and the tradition of the American road trip according to the museum.

Yet Diebenkorn, responding to the American landscape's emotional pull in an inherently modern way, comes from a generation of artists who rejected tradition.

Terry Gunnell, professor of folklore in Iceland, and Elizabeth Hutchinson, professor of art history who specializes in Native American traditions and American art, consider the ways in which Iceland and the American southwest are rich territories for living landscapes.

These striking prints by the Japanese - American artist and longtime Berkeley professor Chiura Obata present the classic American landscapes of Yosemite and the High Sierra in the tradition of Hokusai's 36 Views of Mount Fuji, executed with a traditional Japanese woodblock technique.

In the selected items on view, the developments of American artistic traditions can be traced through the early interests in portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintings.

In the 1980s, a decade when artists commonly appropriated styles or imagery from earlier art historical periods, Mark Innerst became known for beautifully crafted natural and urban landscape paintings that gave new life to the American tradition of the romantic sublime.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

As its European father, the American Impressionism saw different artists gathering and following in its footsteps regarding the depiction of the everyday modern life and the tradition of the en plain air, started with Monet's landscape paintings.

Drawn from the American landscape and still - life traditions, her works depict rural pastorals and coastlines, oftentimes with nondescript barns or cottages.

Certainly there were cross-influences between the two, and the Americans looked at the work of the St Ives group as well as vice versa, but the roots of the Americans lay in European Symbolism and Expressionism, whereas the St Ives group were closer to the English landscape tradition, or, in Heron's case, to the school of Paris.

The installation at the Leubsdorf Gallery at Hunter College presents works that convey to what extent the European tradition of landscape painting underwent changes in the process of being applied to represent Latin American landscapes.

The show (organized with the Joan Mitchell Foundation and with Museum Ludwig in Cologne) credits Mitchell as an important bridge between American and European abstraction, connecting her early New York School years to her late period in Vétheuil, France, where she made landscapes that were very much in the muscular Ab - Ex tradition but also explored the more genteel legacy of late Monet.

Yet all seven painters share one common bond — their work is a contemporary interpretation of the centuries - old tradition of American landscape painting.

«American Landscapes: Treasures from the Parrish Art Museum,» features landscape paintings that trace the «evolution of American art from its roots in an emerging national landscape tradition to the liberating influences of European modernism» — the progression from the 19th - century Hudson River School to the present.

This is the first museum retrospective of this chronicler of the African - American experience, whose landscapes, portraits and history paintings often refer to art history or to muralist and comic - book traditions.

Carly Drew examines our ever changing relationships to place through layers of personal history, industrial changes to the terrain and the rich American landscape painting traditions.

This wide - ranging collection of objects dates from the colonial era to the late 1920s and encompasses the major genres of American art — from the founding tradition of portraiture and the first «national» style of landscape painting to a diversity of still life and figure painting.

But she is wrestling not so much with the long dead 19th - century painter Frederic Edwin Church, who did a great deal to shape a certain vaunted tradition of American landscape painting, as with the ideologies that Church championed.

The occasional shifts in orientation from vertical to horizontal, the strong contrasts, and the shades of blue and green allude to the natural world and the tradition of landscape in American Modernist painting.

Drawing on a long and august tradition of American landscape painting and documentary photography, Opie gives us a view of democracy in action.

The exhibition focuses on the landscape tradition in American art.

Despite such rough, utterly profane surfaces, it is a spiritual tradition of abstraction that Martin's work draws from: Native American folklore, religious mysticism, anthroposophist symbolism, the landscape painting of North American romanticism — and the great melting pot of New York City itself, where Martin has lived since 1975.

While Jongsuk Yoon is indeed familiar with the paradigms of European and American modernism, thanks to her studies at the academies of art in Münster and Düsseldorf, she is also influenced by the traditions of her home country and by an Asian sense of form, especially regarding Asian landscape painting and its specific two - dimensionality.

Although «Traditions Reconsidered» includes things descended from portrait, still life and landscape, innovation in American art has often amounted to overthrow.

Consisting of 30 of the finest American paintings in NOMA's collection, Copley to Warhol briefly surveys the development of American painting, beginning with portraits by Colonial masters John Singleton Copley and Charles Willson Peale and turning to the rise of the landscape tradition with Asher B. Durand, George Inness, and Louisiana artists Richard Clague and Joseph R. Meeker.

Scott's painting practice strives to capture the awe and scale of nature in the tradition of American landscape painting.

Jurney's work is firmly rooted in the great landscape tradition, stretching from Dutch 17th century painting through the Barbizon and Hudson River Schools, to late 19th and early 20th century French and American impressionism.

History Painting Much less popular than landscape painting and portraiture, the tradition of history painting in America was carried on by the German - American painter Emanuel Gottlieb Leutze (1816 - 68) who is best remembered for his masterpiece Washington Crossing the Delaware.