Sentences with phrase «century practice of painting»

Vevers... jewel - like paintings are laced with references to Illuminated manuscripts, the 12th Century practice of painting shells, Kai - awase, Mexican Ex-Votos, Pre-Renaissance Italian paintings, Irish Folklore, Scrimshaw, and Miniatures, and are executed on a wide array of materials including ivorine, vellum, tin, and found clam, oyster or scallop shells.

Not exact matches

The pigment palette used was consistent with that used by Velazquez and his contemporaries in 17th century Seville, she said, as was the material combination practices like the use of certain pigments together and the use of paint to create volume on the paintings.

But Assayas also refers specifically to Hilma af Klint (1862 - 1944), a recently rediscovered Swedish pioneer of abstract art who claimed that her paintings were directly dictated by spirit forces, and to 19th - century French literary titan Victor Hugo, who practiced «table turning» sessions to contact the dead (Assayas fabricates an «extract» from an apocryphal French TV film of the 1960s, featuring actor - singer Benjamin Biolay as a solemn Hugo).

expands upon a dialogue with perception that has pervaded Irwin's practice for nearly half a century and continues references to the mid-century abstraction of the painted canvases of Josef Albers and Barnet Newman.

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

Grau's work is grounded in the history of plein air painting, an in - situ practice of landscape painting based on direct observation that was initiated by artists such as Claude Monet, Pierre - Auguste Renoir, and Camille Pissarro in the latter half of the nineteenth century.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

A highly respected art conservator practicing in Roxbury, Connecticut, Yost's experience restoring fine oil paintings from the eighteenth to twentieth centuries has allowed him to translate the techniques of the masters into contemplative landscapes for modern viewers.

Many of these artists, like Susan Rothenberg and Julian Schnabel, would continue the practice through to the 21st century, making the Guston-esque play between abstraction and wonky depiction one of the few active threads of serious painting to survive today.

Works include woodblock prints, hand - painted scrolls, metal works and sculpture that highlight esteemed and centuries - old artistic practices and traditions from the cultures of Japan, China, India, Tibet and Thailand.

One of the most important artists of the twentieth century, he not only worked in a variety of media — painting, sculpture, books and multiples — but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice.

In PAFA's installation, the Morse painting is on one side of the gallery with objects that help provide a broader context for the themes of artistic practice and identity, while the other half of the gallery is hung salon - style with paintings from PAFA's collection that highlight the academic genres taught and exhibited at PAFA in the first half of the nineteenth century.

It explores the rich diversity of contemporary practice in Chinese drawing, printing and painting on paper in the 21st century.

The exhibition consists of a series of real - time portraits that Kopp painted of fiercely loved subjects that sat for him via Skype, marrying the practice of 19th - century oil painting with modern communication.

My current painting practice centres on the representation of objects and is inspired by the history of still life painting — in particular, 17th century Dutch vanitas paintings, a genre which employed objects as a kind of commentary on contemporary moral and social concerns, as well as exploiting their aesthetic potential.

Hometown hero Monique Meloche will feature a current of big names, including Ebony G. Patterson, whose colorful installations and paintings have earned her the title of «Emerging Queen of 21st Century Pop Art,» and Sanford Biggers, whose interdisciplinary practice plays with everything from hip - hop to Buddhism.

Employing a multi-disciplinary approach to his artistic practice that includes sculpture, painting and photography, Smith's work examines the complexities of 21st century South Africa, through the acts of appropriation, defacement and reparation.

Beginning with a display of historic paintings and works on paper drawn from the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the future.

Framed through the lens of painting, the exhibition will chart both the evolution of Schneemann's practice and her various innovations during the second half of the 20th century in regards to performance, installation and multimedia work.

Richardson is fascinated by the ways we connect with landscape; within her deeply layered practice, she draws on narrative devices used in science fiction and B - movie horror films, as well as nineteenth - century landscape painting, with particular interest in the apocalyptic conjurings of John Martin (British, 1789 - 1854).

Feaster's practice is grounded in the tradition of American twentieth - century abstract painting.

Dunham has built his pictorial vocabulary over three decades of grappling with the past century's rich heritage of painterly possibilities (including abstraction, which he practiced exclusively for many years); today one can detect traces of Léger, Guston and the various twists and turns of New York painting in the 1980s, when he began making abstractions on wood veneer.

Lisa by Teodora Axente, who hails from the much acclaimed Cluj School in Romania, illustrates the artist's practice which combines references of 17th century Dutch figure painting with a strong sense of religious spiritualism.

The Mimbres series elaborates on a touchstone of Varejão's practice: azulejões, paintings influenced by the hand - painted ceramic tiles dating to the 17th and 18th century that were brought to Brazil from Portugal, as well as 11th century cracked Song Dynasty pottery from China.

The exhibition explores the role of the nude in European painting in the sixteenth and seventeenth centuries and the collecting and display practices of the Spanish royalty.

For the vast majority of European paintings before the eighteenth century, the absence of a title testified not to a deliberate refusal of prevailing custom but to the default condition of artistic practice.

After some 30 years painting thick black lines and flat planes of color («I called it Cloisonism, which was a 19th century practice which Van Gogh was involved with for a time») the artist considered himself stuck.

The practice of Mughal miniature painting began in the 16th century.

Guided by her own understanding of still life and its influence on her practice, the artist has curated a selection of works, ranging from 17th - century paintings to recently completed...

The technique can be traced back to the 17th century and refers to the practice of painting out of doors: working with a sense of immediacy and freedom, embracing unpredictable elements, and following the natural cycle of light through time.

Many Western abstract artists in the mid-20th century vociferously maintained that their works were devoid of allusion or referent, practicing a «medium specificity» that meant they needed to focus only on the paint and the canvas and elide all figuration or narrative.

Finally, fin de siècle and early 20th century brought us to beginnings of modern painting within the practice of Georges Braque, who is assigned as one of the key figures of Fauvism and Cubism.

This new publication reveals and validates the importance of Al Taylor's paintings both within his own practice and in the context of twentieth century abstraction.

One of the greatest innovators of the XX century avant - gardes, Alexander Rodchenko (1891 - 1965) formed his artistic practice following the Russian Revolution by exploring painting, sculpture and graphic design.

Guided by her own understanding of still life and its influence on her practice, the artist has curated a selection of works, ranging from 17th - century paintings to recently completed pieces in a variety of mediums, either by the artist herself or by her contemporaries.

In a sense, his practice operates at the outer reaches of the Greenbergian push towards formal purity that defined the discourse surrounding painting for much of the 20th - Century.

Guided by her own understanding of still life and its influence on her practice, the artist will curate a diverse selection of works, ranging from 17th - century paintings to recently completed pieces in a variety of mediums, either by the artist herself or by her contemporaries.

While plein air painting goes back further among individuals, it was with the invention of tin paint tubes and the portable «Box Easel» in the 19th century that painting en plein air, or «in the plain air» became the practice of significant numbers of artists.