Sentences with phrase «classicist paintings»

With all the Abstract Classicist paintings, the balanced geometric forms appear spare and refined, enriched by vivid colors of oil paint.

The official capital city, Warsaw, sits on the Vistula River, boasting a wonderfully restored Old Town designed in the style of Canaletto's classicist paintings, with almost every building dated to the post-war era.

The abstract classicists painted forms that are, in Langsner's words, «finite, flat, rimmed by a hard clean edge... not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection.

Not exact matches

Like the observational painters, Bailey distances himself from the classicists by emphasizing the lack of formula in his painting process.

While much of Chimes's work is deeply indebted to literature, each body of work (his metal and plexi box constructions, drawings, and later white paintings) maintained structured systems that dictated the composition — a process - based manifestation of the classicist and symbolist ideals in his work.

Of particular interest in the exhibition is Childe Hassam's Adam and Eve Walking Out on Montauk in Early Spring (oil on wood panel, 1924), which succinctly reflects the artist's desire to replicate the Greek Classicist ideal translated to painting, and historically is considered one of Hassam's most ambitious landscape works.

Thomas Chimes: The Body in Spirals, 2014 Text by Kelsey Halliday Johnson 84 pages, Softcover Published by Locks Art Publications ISBN: 978 -1-879173-95-8 While much of Thomas Chimes's (1921 - 2009) work is deeply indebted to literature, each body of work (his metal and plexi box constructions, drawings, and later white paintings) maintained structured systems that dictated the composition - a process - based manifestation of the classicist and symbolist ideals in his work.

Along with Colville he is one of the greatest classicists of contemporary Canadian PAINTING.

Nominating MacIver to the American Academy and Institute of Arts in 1956, Marianne Moore characterized her as «a classicist of the imagination, an interpreter of what can not be painted.»

There are hard - edge geometric paintings by Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin called the Abstract Classicists after their 1959 show, as well as influential figurative artists like Rico Lebrun, who was, among other things, a teacher of Baldessari.

Komada has two knit pieces and six painting - knitting hybrids at Prole Drift this month (amid a few scattered orchids and a tacked - up printout of the Lou Reed / John Cale song «Trouble with Classicists,» too), and he's transformed the gallery's back room into a high - tech open studio where he works during certain gallery hours.

If the crux of Elise's work is found in the glitches (it's worth mentioning that in the catalogue essay for Four Abstract Classicists Langsner states that «accident is not allowed to intrude» in hard - edge painting) then for Feitelson it's the space between the boulders — which never make contact.

The teeming mythosphere of Baer's paintings, in which familiar and arcane spectres rub shoulders, offers an apt analogy for a show I will curate in March with fellow classicist Ruth Allen, «CLASSICICITY», juxtaposing contemporary and ancient art.

Likewise Joseph, regarding himself as a classicist, considers the association with minimalism unconvincing, citing early Venetian and Florentine painting as a more appropriate touchstone.

Taking and reinventing classicist and old masters paintings as principal elements and focal points for his work in this show, he uses angular forms inspired by and abstracted from his historical outdoor use of the alphabet to compliment the figurative work that he pays homage to and slices - up in equal measure.

The 18th century witnessed wonderful human forms created by William Hogarth, (see also English Figurative Painting) and the academic classicist J.A.D. Ingres - see his Valpincon Bather (1808).

Romare Bearden, «Rectangular Structure in My Montage Paintings,» Leonardo 2 (January 1969), quoted in Alexandra Anderson - Spivy, «Romare Bearden: Modern Classicist,» Romare Bearden: The Human Condition (New York: ACA Galleries, 1991), n. p.

«Four Abstract Classicists» traveled to London, where the work was more accurately called «hard - edge painting.»

The term Hard - edge painting was first used in 1959 by the art historian and critic Jules Langsner, when describing the non-figurative pictures of four West Coast artists (Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin) whom he had brought together in an exhibition entitled Four Abstract Classicists, at the Los Angeles County Museum of Art.

In addition to works by the political classicist painter Jacques - Louis David, the great French academic artist Jean - Auguste - Dominique Ingres, and the leader of French Romanticism Eugene Delacroix, The Hermitage collection features excellent examples from the Barbizon School of plein landscape painting, by Theodore Rousseau, Jean - Baptiste - Camille Corot, Dupre, Daubigny and others, and seven masterpieces by Claude Monet, the founder of Impressionism, including: Lady in a Garden (1867), The Pond at Montgeron, and Waterloo Bridge (1903).

An American painting movement which depicted urban / industrial landscapes often in a Cubist / Futurist manner, its members were known by a variety of labels such as «Cubist - Realists», «Immaculates», «Sterilists» or «modern classicists».

This quieter style of painting was greatly admired by the highly intellectual French classicist painter, Nicolas Poussin (1594 - 1665).

His place in art history was secured by «Four Abstract Classicists,» a 1959 traveling exhibition organized by the Los Angeles County Museum of Art featuring paintings by Hammersley, Lorser Feitelson, John McLaughlin and Karl Benjamin.