Sentences with phrase «century icons from»

Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery will bring together about 70 iconic artworks by Vincent van Gogh, Pablo Picasso, Georgia O'Keeffe, Salvador Dalí, Frida Kahlo, and Andy Warhol as well as one of Jackson Pollock's finest drip paintings.

As part of Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery, we had the pleasure of installing a very large and impressive Jackson Pollock painting.

Near the end of Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery at the Denver Art Museum there's a small section (only three paintings and two sculptures), titled «Monochrome, Minimalism, and Meditation.»

Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery features paintings and sculptures by some of the most well - known artists of the twentieth century, including Vincent van Gogh, Edgar Degas, Pablo Picasso, Georgia O'Keeffe, Jackson Pollock, Andy Warhol, and Roy Lichtenstein.

The reviews are in and the consensus is: you don't want to miss Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery.

The DAM is publishing a blog series that will highlight some of the artists whose work is in Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery.

Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery at the DAM is presented in conjunction with a special exhibition at the Clyfford Still Museum titled 1959: The Albright - Knox Art Gallery Exhibition Recreated, which recreates Still's landmark 1959 exhibition at Buffalo's Albright - Knox Art Gallery.

In conjunction with Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery, the Clyfford Still Museum reimagines Clyfford Still's landmark 1959 exhibition at the Albright - Knox in 1959: The...

Gauguin to Warhol: 20th Century Icons from the Albright - Knox Art Gallery Showing until January 27th 2015 The San Diego Museum of Art, USA

The Denver Art Museum and the Clyfford Still Museum (CSM) will present Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery.

Frida Kahlo painted her life story in 55 small but powerful self - portraits, like Self - Portrait with Monkey, 1938, on view in Modern Masters: 20th Century Icons from the Albright - Knox Gallery.

The first blog posts focused on Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery.

So we jumped at the chance to co-sponsor, with the Denver Art Museum, the exhibition Modern Masters: Twentieth Century Icons from the Albright - Knox Art Gallery, which featured the greatest artists from the twentieth century, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and Clyfford Still.

In conjunction with Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery, the Clyfford Still Museum reimagines Clyfford Still's landmark 1959 exhibition at the Albright - Knox in 1959: The Albright - Knox Art Gallery Exhibition Recreated.

Hofmann, Mitchell, Pousette — Dart, Stamos, Hollis — Taggart Galleries, New York (October 30 — December 6) De la pierre à l'écran: Studio Franck Bordas, Paris, Le Centre de la Gravure et de l'Image imprimée, Brussels, Belgium (October 4, 2014 — January 11, 2015) Make it New: Abstract Painting from the National Gallery of Art, 1950 — 1975, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (August 2 — October 13) Joan Mitchell: Mémoires de paysage, Musée des Beaux - Arts de Caen, Caen, France (June 14 — September 21) Rothko to Richter: Mark - Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum, Princeton, New Jersey (May 24 — October 5) Mitchell, Benglis, Wilke, Williams College Museum of Art, Williamstown, Massachusetts (May 19 — October 26) Hans Hofmann, Joan Mitchell, Sam Francis, Galerie Thomas Moderne, Munich, Germany (March 21 — May 17) Modern Masters: 20th Century Icons from the Albright - Knox Art Gallery, Denver Art Museum, Denver, Colorado (March 2 — June 8) Made in the U.S.A.: American Masters from The Phillips Collection, 1850 — 1970, The Phillips Collection, Washington, D.C. (March 1 — August 31) Grażyna Kulczyk Collection: Everybody is nobody for somebody, Fundacíon Banco Santander, Madrid, Spain (February 15 — June 15) Ed Clark: Big Bang, Tilton Gallery, New York (January 14 — February 22)

Plus: Co-defendant in art theft trial claims he destroyed stolen masterpieces Art thief jailed over theft of 18th - century icon from Chester Cathedral and Art Cologne Prize 2017 goes to Günter Herzog

Not exact matches

Historians say this icon was brought to Bali in the sixteenth century from Java.

The Byzantine emperors who first issued the edict to smash and destroy the icons (Leo the Isaurian and his son Constantine V, both of whom reigned in the eighth century) do remind one of Oliver Cromwell, for both sets of rulers were military leaders with a loyal army from the provinces; such figures often have a puritanical streak and tend, moreover, to command soldiers who themselves are suspicious of the decadent mores of the cities.

From the vestments (which are really nothing more than the Fourth Century CE court clothing of the Eastern Roman Empire), the canonized saints (which are essentially «Christian» demigods that replaced the pagan pantheon), the numerous feast days and holy days (which replaced pagan holidays), the statues and painted icons (which replaced pagan idols), and the episcopal structure (in which «third sons» of landed aristocrats who had no hope of inheriting their fathers» titles and lands could become «princes of the church» with as much worldly comfort as the «first sons» and almost as much wealth and power), the Anglican Church was practically indistinguishable from the Roman Church except that they used English in the Mass instead of LaFrom the vestments (which are really nothing more than the Fourth Century CE court clothing of the Eastern Roman Empire), the canonized saints (which are essentially «Christian» demigods that replaced the pagan pantheon), the numerous feast days and holy days (which replaced pagan holidays), the statues and painted icons (which replaced pagan idols), and the episcopal structure (in which «third sons» of landed aristocrats who had no hope of inheriting their fathers» titles and lands could become «princes of the church» with as much worldly comfort as the «first sons» and almost as much wealth and power), the Anglican Church was practically indistinguishable from the Roman Church except that they used English in the Mass instead of Lafrom the Roman Church except that they used English in the Mass instead of Latin.

Toward the end of Ut Unum Sint, John Paul cites some of the questions that must be addressed in conversation with the communities issuing from the tragic divisions of the sixteenth century: (1) The relationship between Sacred Scripture, as the highest authority in matters of faith, and Sacred Tradition, as indispensable to the interpretation of the Word of God; (2) The Eucharist as the Sacrament of the Body and Blood of Christ, an offering of praise to the Father, the sacrificial memorial and Real Presence of Christ and the sanctifying outpouring of the Holy Spirit; (3) Ordination, as a Sacrament, to the threefold ministry of the episcopate, presbyterate, and diaconate; (4) The Magisterium of the Church, entrusted to the pope and the bishops in communion with him, understood as a responsibility and an authority exercised in the name of Christ for teaching and safeguarding the faith; (5) The Virgin Mary, as Mother of God and Icon of the Church, the spiritual Mother who intercedes for Christ's disciples and for all humanity.

On one wall, below the icon of a dancing Christ, is a framed rubbing of a tablet from a seventh - century Eastern, or Nestorian, church in western China.

An inspirational journey through black fashion in America from the twentieth century to the present, featuring the most celebrated icons of Black style and style and taste... Model: Adau Mornyang, 2007,...

An icon of British homeware from the 1920s, its been given a new lease of life for the 21st - century with lots more colourways and beyond - kitchen uses too.

An exceptional exhibition Russian Icons: Spirit and Beauty, comprising a collection of forty Russian and Greek icons dating from the 15th to the 19th centuries, will be staged by Jan Morsink Ikonen of Amsterdam at Trinity House, 50 Maddox Street, London W1S 1AY, from Saturday 22 November to Thursday 27 November Icons: Spirit and Beauty, comprising a collection of forty Russian and Greek icons dating from the 15th to the 19th centuries, will be staged by Jan Morsink Ikonen of Amsterdam at Trinity House, 50 Maddox Street, London W1S 1AY, from Saturday 22 November to Thursday 27 November icons dating from the 15th to the 19th centuries, will be staged by Jan Morsink Ikonen of Amsterdam at Trinity House, 50 Maddox Street, London W1S 1AY, from Saturday 22 November to Thursday 27 November 2014.

But just as Warner Bros. and Lionsgate are respectively surging ahead with the latest from Stallone and Schwarzenegger, 20th Century Fox surely felt a boost of confidence pushing Die Hard in the current film landscape, where musclebound»80s icons are giving many folks déjà vu.

It's the classic hardboiled private - eye movie; the nervy maiden offering of its celebrated director, John Huston; the first glamorous star vehicle for Humphrey Bogart, an icon of American cinema and the 20th century's definition of existential cool; and still the most triumphantly well - cast movie from Hollywood's golden age (rivaled only by Casablanca).

The Shadow Catcher dramatically inhabits the space where past and present intersect, seamlessly interweaving narratives from two different eras: the first fraught passion between turn - of - the - twentieth - century icon Edward Curtis (1868 - 1952) and his muse - wife, Clara; and a twenty - first - century journey of redemption.

The beautifully carved wooden houseboats, which are area icons, date to the 19th century, when they shielded British officials from the subcontinent's penetrating summers.

Spanning a wide range of periods and styles, the Post-War and Contemporary Art Day Auction offers superb work from 20th century icons to exciting new names, with outstanding pieces from the likes of Sigmar Polke, Howard Hodgkin, Jean Dubuffet and Martin Kippenberger.

Near the end of Modern Masters: Icons of 20th Century Art from the Albright - Knox Art Gallery, there's a small section (only three paintings and two sculptures), titled «Monochrome, Minimalism, and Meditation.»

This superlative show is huge in every sense: big themes, giant icons of mid century art, enormous canvases, and no small amount of ambition on the Royal Academy's part, tackling an often shied from movement — or «ism» — which was last explored in such a survey in the UK back in 1959.

A necklace by a pioneer in Art Nouveau Design, a rare wooden gong from the Gabon's Tsogo culture, an 17th century Ethiopian icon and a selection of photographs including a work by Richmond - based Cynthia Henebry, are among the works acquired by VMFA in October.

This new body of work is an extension of an ongoing series, begun in 2008, in which Dávila simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision, physically removing pieces of critical information from photographic reproductions of original works of art.

A time capsule group of eight paintings and drawings by Jean - Michel Basquiat from the collection of the actor, producer and musician Johnny Depp attests to his understanding and engagement with one of the icons of 20th - century painting.

In the series, which references the «blue hour» between daylight and dark, he portrays 20th - century art historical icons that are sculpted and cast from nontraditional materials, which would be self - obliterating if ever used for their intended purpose.

Entitled Iconic, the presentation at The Art Show will mark the debut of these intimately scaled portraits which use the visual language and gestures of 15th century icons to depict contemporary subjects selected by Wiley from the streets of New York City.

• Richard Deacon's Restless 2005, a gift from the artist • Arthur Hughes's (1832 — 1915) Elaine with the Armour of Launcelot c. 1867 and The Singer c. 1866, a major bequest • Cecil Gordon Lawson's The Hop - Gardens of England 1874 • the bequest of Nimai Chatterji's important archive of 20th century documents and publications • the donation of a group of works by Don McCullin from Eric and Louise Franck • 58 photographs by Lewis Baltz, San Quentin Point 1982 acquired with funds from PAC • Olga Chernysheva's On Duty 2007, presented by VTB Capital 2011 • Hala Elkoussy's On red nails, palm trees and other icons — Al Archief (Take 2) 2009, with funds from MENAAC • Susan Hiller's Dedicated to the unknown Artists 1972 - 6, with assistance from the Art Fund • Works by Martin Creed, Jeff Koons and Robert Mapplethorpe were added this year to the ARTIST ROOMS collection.

Drawing inspiration from the generation of their grandparents, artists used different methods and criteria in choosing their icons, creating a selection that reflects a specific realm of art development in the 20th and 21st century.

Aside from being a gay icon, downtown muse, and a housewife before all these, May Wilson was a pioneer photo - collagist whose inclusion of her own body into mixed - media cut - outs delivered some of the most influential feminist works of art in the 20th century.

This exhibition surveys twentieth - century African American artists from the South, restoring their identities and drawing in examples that range from stunning abstract compositions to brilliantly - conceived tributes to cultural icons like Jackie Robinson.

THIS LONG CENTURY is an ever - evolving collection of personal insights from artists, authors, filmmakers, musicians and cultural icons the world over.

James Young, in his book At Memory's Edge, describes these changes as «a metamorphosis of the monument from the heroic, self - aggrandizing figurative icons of the late nineteenth century celebrating national ideals and triumphs to the anti-heroic, often ironic, and self - effacing conceptual installations.»

More than 100 artists» self - portraits are featured, ranging from Victorian masters JMW Turner and John Constable to 20th century greats Louise Bourgeois and Lucian Freud and contemporary icons Damien Hirst, Sarah Lucas and Gillian Wearing.

Of course the 16th - and 17th - century Chinese artists making these homage albums are light years away from the accelerated dialectics of Post-Enlightenment Western art, with an ethos apparently more congruent with that of Russian icon painters or Medieval and Gothic artists, many of whom remained anonymous, repudiating their individuality in the service of God.

This richly illustrated survey spans the artist's prolific career from the early Flag and Target paintings — which were central to establishing his reputation as a major young artist in the mid 1950s, and have since become icons of twentieth century art — to the compelling compositions of the recent «Catenary» series - works that testify to Johns's continuing artistic ambition at the start of the twenty first century.

Switching to a career in fine art from his dream of becoming a commercial artist, Ed Ruscha first came into prominence in the early 60s with his large word paintings and paintings of commercial icons, such as Twentieth Century Fox and Standard Station, that related in manner and style to the nascent Pop art movement.

A select collection of Russian icons from the late eighteenth and nineteenth centuries is also on view.

The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, «Fahrünnissa Zeid El Hüssein», a small icon of a crown, and a casual note scribbled in Turkish, to one of Turkey's first female illustrators.

Fine and decorative arts objects have been high on the Cleveland Museum of Art's wish list, and through purchases from endowment funds the institution has acquired the 15th - century Byzantine icon The Mother of God and Infant Christ, which has been attributed to icon painter Angelos Akotantos; a 1977 abstract painting, Rho I, by Jack Whitten; contemporary Chinese artist Xu Bing's 1985 woodcut Five Series of Repetition: Moving Cloud (Yi - yun); and William Turner's ca. 1850 watercolor A View from Moel Cynwch: Looking Over the Vale of Afon Mawddach and Toward Cader Idris.

Over the course of her trailblazing artistic career, Mickalene Thomas has drawn inspiration from prolific artists and pop culture icons alike, from 1970s supermodel Beverly Johnson to Edouard Manet's Odalisque figures of the 19th Century.