Sentences with phrase «century painting part»

19th Century Painting Part of the European Painting and Sculpture department, the Museum's collection of Impressionism and Post-Impressionism ranks alongside any museum in the world.

Not exact matches

The recording of an external likeness was denounced by the third - century neo-Platonist philosopher Plotinus, who refused to allow his portrait to be painted, in part because he believed it only an «image of an image» (in true Platonist fashion), and in part because he rejected his material existence, claiming that its mortal fragility demonstrated that it was essentially untrue and unreal.

There are two parts to this chateau, a fortress dating from the 13th century, dominated by an octagonal living area and a Renaissance castle (the room designed by Jacquet Montbron) with richly furnished rooms such as the «golden sumptuous lounge with a beautiful painted ceiling.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontations.

AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.

Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2) Americans in Paris: Abstract Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).

Traveled to Worcester Art Museum, Worcester, Massachusetts (October 3 — November 25); Grey Art Gallery, New York University, New York (January 15 — February 23, 1985); Contemporary Arts Center, Cincinnati (March 14 — April 27, 1985); Albright - Knox Art Gallery, Buffalo (September 14 — November 3, 1985) and Archer M. Huntington Art Gallery, University of Texas at Austin (January 12 — February 23, 1986) Sur Invitation, Musée des Arts Décoratifs, Paris (June 6 — September 17) Olympic Arts Festival Los Angeles 1984, Newport Harbor Art Museum, Newport Harbor, California (June 1 — September 9) Selections from the Permanent Collection: Paintings and Sculpture, Museum of Modern Art, New York (opened May 17) Three Painters, Three Decades: Lee Krasner — Joan Mitchell — Pat Steir, Harcus Gallery, Boston (May 5 — June 20) XXIX Salon de Montrouge, Art Contemporain, Peinture — Sculpture — Dessin, Montrouge, France (May 2 — June 3) Aspects de la Peinture Contemporaine (1945 — 1983), Musée d'art moderne de Troyes, France (April 29 — June 18) Vent «anni d'arte in Francia, 1960 — 1980, Association Française d'Action Artistique, Galleria comunale d'arte moderna di Bologna (March — April) Master Drawings: 1928 — 1984, Janie C. Lee Gallery, Houston (March 7 — April) La Part des Femmes dans l'Art Contemporain, Galerie Municipale, Vitry - sur - Seine, France (March) American Women Artists, Part I: 20th Century Pioneers, Sidney Janis Gallery, New York (January12 — February 4)

The connection between abstract painting and painting's self - definition is always seen as central part of Greenbergian doctrine, an extension of the grand narrative's account of the arts «coming into their own» in the 18th and 19th centuries which Wolterstorff describes.

The journey was shaped in part by chance: a quarter century after having first encountered Munch's art at MoMA, for instance, Johns received a postcard of Munch's Self - Portrait between the Clock and the Bed, 1940 - 43, from a friend who had noticed similarities between the bedspread in the painting and Johns's crosshatch motif.

This is due in large part to the site's dedication to representing primarily painters working in the realm of Magic Realism, a predominantly Midwest American school of painting often considered an offshoot of Surrealism, but which traces its roots to the early 20th century as an outgrowth of German expressionism (thereby actually pre-dating the surrealists by a few years).

I'd go part way along with you, in as much as I absolutely agree that abstract painting has to get over the iconic works of the last century and discover some new territory.

Exceptional examples of 17th - century Dutch Golden Age paintings — part of a major recent gift from collectors Peter and Anne Brooke — are currently on view.

Indeed, it was as a result of this last exhibition, held with great aplomb in Berlin that Suprematist Composition came to form part of the extraordinarily influential group of Malevich's paintings that remained in the West and which served as almost his sole creative legacy for much of the Twentieth Century.

Inspired in part by a trip with Larry Rivers in 1950 to Paris, where she was especially impressed by the work of Vuillard and Bonnard, she immersed herself in the tradition of 19th - century European painting.

Part of the joy of painting in the 21st century is the range of available art styles.

Work from the art gallery's rich permanent collection will also be on display as part of the exhibition including 20th century naked portraits from Stanley Spencer's painting of his second wife Nude, Portrait of Patricia Preece (1935) to John Coplan's photographic Self Portrait Upside Down (1992).

An important painting by the British painter Frank Auerbach of his long - term lover, Estella Olive West, entitled Head of E.O.W. III, 1961, sold yesterday (30 June) for a remarkable # 860,000 at Bonhams, New Bond Street, as part of its 20th Century British Art sale.

These works of art are now part of the Met's collection and are currently on view in the Museum's European Paintings Galleries and Nineteenth - Century European Paintings and Sculpture Galleries.

The early part of the collection features French and Russian art from the beginning of the twentieth century, cubist paintings and superb holdings of expressionist and modern British art.

Wilmerding will provide insight into landscape painting in the first part of the 19th century and still lifes in the latter part of the century, and frame the works in the context of the artists» careers.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

In the 18th and 19th centuries, attention was mostly paid to the restoration of paintings which formed a considerable part of the collection.

Performance: Keil Borrman, «Airing the Facilitation Banner Paintings,» at Osmos As part of a program called «Beer on Sundays,» inspired by anarchist saloonkeeper Justus Schwab's effort in the late 19th century to operate his drinking establishment on that day, which was once housed at Osmos's address, Keil Borrman will stage a performance, curated by Jovana Stokic, which involves the audience taking banners with political messages from the gallery, recently founded by curator Cay Sophie Rabinowitz, to the nearby First Street Green, at 33 East 1st Street.

New Brunswick landscape paintings and works on paper by artists such as Anthony Flower (1792 - 1875), George T. Taylor (1838 - 1913), and George Neilson Smith (1789 - 1875) are also an important part of the gallery's holdings of 19th century Canadian art.

Rediscovered in the middle part of the 20th century, Caillebotte is noted for his ambitious and innovative approach to perspective as well as a more realistic approach to painting than employed by some of the more notable Impressionists.

Paintings by 17th - century artist Mary Beale form part of gallery revamp that aims to showcase more female painters

If, in the United States, the vogue for landscape painting in the 19th century was in part a nostalgia for a lost wilderness — something one might associate with Benning today — for these artists, any sense of melancholic compensation gives way to a material reckoning with a damaged planet and the economies of extraction and industrialization that populate it.

In the artist's words: «Part of the liberating thing about making some of these figures over the porn was to accept the sort of crappy way that I paint compared to somebody from the eighteenth century.

They form part of a display of 19th - century paintings from the collection of Juan Antonio Pérez Simón.

This exhibition will highlight one of strengths of the Johnson Museum's collections: paintings, drawings, and watercolors from the first part of the twentieth century by artists such as John Marin, William Zorach, Edward Hopper, and Arthur Dove as well as new acquisitions by Jane Peterson, George Luks, Cecilia Beaux, Maurice Prendergast, and many others.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

2003 Fresh: Works on Paper, a Fifth Anniversary Exhibition - James Kelly Contemporary, Santa Fe, NM Collection D'Estampes Contemporaines - Galerie Akié Arichi, Paris Entre el clavel y la espada: Rafael Alberti en su siglo - Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla Classic Works From the 1960s - Loretta Howard Gallery, New York City, NY Black White - Danese, New York City, NY The Eunice and Hal David Collection of 19th and 20th Century Works on Paper - Hammer Museum, Los Angeles, CA The Eighties - Part II: USA - Galerie Klüser, Munich Grafik - Art Forum Ute Barth, Zurich El Expresionismo Abstracto Americano en las Colecciones Españolas - Museo de Arte Contemporáneo Esteban Vicente, Segovia The Heroic Century: The Museum of Modern Art Masterpieces, 200 Paintings & Sculp - MFAH — Museum of Fine Arts Houston, Houston, TX Some Assembly Required - Collage Culture in Post-War America - Polk Museum of Art, Lakeland, FL Roads Taken: 20th Century Prints and Drawings from the Collection - University of Virginia Art Museums - The Fralin Museum of Art, Charlottesville, VA American Art - The Wilfred Davis Fletcher Collection - Boise Art Museum BAM, Boise, ID Pairings — Hackett Freedman Gallery, San Francisco, CA (closed, 2009) Some Assembly Required: Collage Culture in Post-War America - MMoCA - The Madison Museum of Contemporary Art, Madison, WI Motherwell, Hartung, Fruhtrunk, Sonderborg, Vedova, Trökes - Galerie Dube - Heynig, Munich A Century of Painting - From Renior to Rothko — Guggenheim Hermitage Museum, Las Vegas, NV Trace Evidence - Frederick R. Weisman Art Museum, Minneapolis, MN Leckerbissen - Fischerplatz Galerie, Ulm Graphic Works from the Lopez Collection - Cirrus Gallery, Los Angeles, CA Painting Explosion - 1958 1963, Part I - Blanton Museum of Art, Austin, TX Abstract Expressionism - Art Movement in the 20th Century - Tehran Museum of Contemporary Art, Tehran

, Frac des Pays de la Loire, Carquefou, France Projects 70 - Jim Hodges, Beatriz Milhazes, Faith Ringgold, Museum of Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlington.

Much less known, the paintings of the Ukrainian - born artist Janet Sobel were in part the inspiration for Pollock's leap into total abstraction, after her work was shown at Peggy Guggenheim's Art of This Century Gallery in 1944.

The last part of the exhibition explores the paintings of 20th century artists, such as Georgia O'Keeffe, Edward Hopper, David Hockney, Gerhard Richter, and Ed Ruscha, who brought fresh perspectives to traditional landscape subjects.

Joan Mitchell, the painter, lives in a house in Vetheuil, France, connected to the one where Monet painted in the latter part of the 19th century.

Abstract painting has been a significant part of the art world for a century, but the past few years have witnessed a marked resurgence of exhibitions that consider the history and current state of abstraction.

These iconic works of 19th - century landscape painting are traveling on a national tour for the first time and are circulating to four museums around the country as part of the Historical Society's traveling exhibitions program Sharing a National Treasure.

Though individual works are very seldom loaned, these iconic works of 19th - century landscape painting are traveling on a national tour for the first time and are circulating to four museums around the country as part of the Historical Society's traveling exhibitions program Sharing a National Treasure.

Hobbs writes that Reynolds» discourses «are rich indeed, and still speak to the concerns of students of painting today, if you have the patience to parse the meat from the embroidery of 18th century rhetoric... My favorite of the Discourses is number XI, in which Reynolds addresses himself to the problem of «finish» and the relationship of parts to the whole.»

It is perhaps testament to Still's art that, despite his eschewing of the growing commerciality of the art world, his work became among some of the most powerful and important paintings produced in the latter part of the twentieth century.

Throughout the 20th - century, as part of the modernist revolt against the use of traditional materials in fine art and the consequent desire to demonstrate that «art» can be made out of anything, artists have been creating sculpture, assemblage, combined paintings / sculptures and installations from an ever - widening range of unusual objects and materials.

• 2005 - The Triumph of Painting (3 - part series) Featured some outstanding late 20th century paintings, by a number of European painters such as Jorg Immendorff, Peter Doig, Martin Kippenberger, and Luc Tuymans, as well as younger painters from America, Germany and Britain.

Most of the paintings on view were completed in the latter part of the twentieth century.

It has brought together over 400 global minds from pop culture to renowned academia: artists, curators, museum directors, filmmakers, novelists, historians, philosophers, technologists, entrepreneurs, musicians and performers, dialogue with one another across disciplines, reporting from every part of the world, painting a truly 21st century portrait of how the globalized world thinks.

Yet Lyons» MCA show was called, somewhat ironically (and then again, somewhat not), «Abstraction in the 21st Century,» a title that was clearly designed to provoke a certain amount of bemusement and even incredulity on the part of viewers, given the relatively short history of 21st century painting in gCentury,» a title that was clearly designed to provoke a certain amount of bemusement and even incredulity on the part of viewers, given the relatively short history of 21st century painting in gcentury painting in general.

Authentic Russian landscape painting didn't take off until the early part of the 19th century.

Jeff Elrod -(pictured above) After a disastrous train wreck of a lecture at the Modern Art Museum of Fort Worth in 2009, I started to think differently about his abstract paintings that are part elegant monochromatic gestural works and part nostalgic elegy to early digi - art, a commentary on the tensions between the physical and the virtual in the 21st century.

This painting is part of my «Valley of the Dolls»... more Original abstract artwork in beautiful Mid Century style gold frame.

Oehlen's spatially intriguing works, in which figuration and abstraction collide, are a strong reminder of the complex forces that were involved during the resurgence of painting at the latter part of the previous century.