Sentences with phrase «constructivist movement»

In 1915, artist Vladimir Tatlin heralded the birth of the Constructivist movement with the debut of his corner counter-reliefs.

Minimalism positioned itself as a reaction to this kind of art, influenced by the abstractions of Bauhaus artists such as Kazimir Malevich and Piet Mondrian, and the use of industrial materials instead of traditional artistic techniques by the early 20th - century Constructivist movement.

Henry's focus in the 60s and 70s was founded on the Constructivist movement melding technology and industrial materials with abstract forms.

Berenice Arvani from São Paulo opted for a staging of historical paintings and works on paper by João José Costa, one of the lesser - known members of Grupo Frente (1954 — 56) that paved the way for the constructivist movement in Brazil.

Volcanic Magic XXVlll, one of our new acquisitions, feels like a work from the Soviet Constructivist movement of the early twentieth century.

Leading person of the Russian avant - garde, Vladimir Tatlin was a Soviet artist and founder of the widely influential Constructivist movement.

In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.

Studying at the Art Institute, Henry became part of a revolutionary group of sculptors who were influenced by the Constructivist movement, introducing technology and engineering in the artistic realm and celebrating art for the public cause.

A display of sculptures, reliefs and constructions by Victor Pasmore's contemporaries in the British Constructivist movement, including Kenneth and Mary Martin, Anthony Hill, Norman Dilworth and John Ernest, drawn from the Petitgas Collection.

The trampled packaging naturally created compositions reminiscent of the work of artists from the Constructivist movement.

This present exhibition has been curated in parallel with a major exhibition at Pallant House Gallery of the works of Victor Pasmore, a leading figurehead of the nascent constructivist movement in post-war Britain.

In addition to musical influences, the severe geometric abstraction of the earliest works presented at Mitchell - Innes & Nash note the influence of Russian Suprematist and Constructivist movements, specifically Kazimir Malevich whose work was an important influence in Knifer's early education in Zagreb.

Though he is often associated with Neo-Concrete and Constructivist movements, Camargo's work is distinct from many of his Brazilian contemporaries.

The show will also include 30 major pieces from the Russian avant - garde suprematist and constructivist movements, loaned by the Tretyakov State Gallery in Moscow and the Russian Museum in St Petersburg.

She was often associated with the Brazilian Constructivist movements of the mid-20th century and the Tropicalia movement.

Not exact matches

Greenberg is aware that his constructivist perspective may be used against the homosexual movement, but he believes that his first obligation is to the truth.

The maker movement is built upon a constructivist philosophy that views learning as a highly personal and social process.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Using modernist aesthetics and ideals elucidated by the Russian constructivists and the Bauhaus school — both of which are movements known for their utopian aspirations — Cerrillo makes steel frames that outline empty gallery space, exploring the failure of Modernist abstraction to connote real meaning.

Without a rigid thesis dictating the meaning of the works themselves or the relationships between them, the exhibition points to the potential of abstraction to evoke ideas and emotion — and make manifest the digestion of reality — with a nod to abstraction's historical associations with social, political, and spiritual transformations, reminding us that the Constructivist, Bauhaus, and Neo-Concrete movements, for example, were deeply imbued with political and social aspiration.

Josef Albers, the German artist who fled Europe, was part of the Constructivist and Bauhaus movements and was part of what brought this hard edge into abstraction in the United States.

Here, around one hundred works of art invite the visitor to find out more about the special focus areas of the Daimler Art Collection: the constructivist and concrete tendencies evident in the pictures of Josef Albers, Anton Stankowski and Camille Graeser, the interaction of line, surface and space in works by Georges Vantongerloo, Norbert Kricke and Ben Willikens, pictures and decorative objects of the zero avant - garde of around 1960, classics of the Minimal Art movement by Charlotte Posenenske or Franz Erhard Walter from around 1970, and recent photographic and video works by artists from India, South Africa and the US.

Through his work Grant opens a dialogue on geopolitical issues with colorful landscapes, structures and technology drawn from ideas of various utopian and dystopian fictions, drawing influences from the constructivist / supremacist movement, Persian miniaturists, op, pop, advertising, comics, science fiction films, and contemporary low - brow.

It's fitting that the Honigger's rug exhibition is being shown in Switzerland, not just because Honegger is Swiss, but because another Swiss artist, former Bauhaus student Max Bill (1908 > 1994), who took up the concrete art (aka concrete - constructivist art) baton, organised the first international exhibition of work by the movement in Basle, in 1944.

A Constructivist art movement and studio workshop founded by the Uruguayan artist Joaquín Torres - García, Taller Torres - García was the most significant Latin American workshop of the 1940s and 1950s.

Kelly's rational and formal style of painting is drawing on the Russian Constructivist tradition, in particular Kazimir Malevich, as well as Piet Mondrian of the De Stijl movement, in addition to artists from abstract movements such as Jean Arp, Richard Diebenkorn and Ellsworth Kelly, among others; all are known for working skilfully with simple shapes and lines.

Situated neither within Constructivist nor Minimalist movements, his pared - down vocabulary of lines and squares, refined colour palette and precise measurements nevertheless positioned Calderara closely with other minimalist painters at the time, including Piet Mondrian and Josef Albers, both of whom the artist admired greatly.Such singular geometric lyricism came to the fore in Calderara's seminal work Painting Infinity, which he created in 1959 at the age of 56 — the same year he created his first fully abstract painting, Quadrati e Rettangoli.

Two key moments are emphasized: the period from 1923 to 1933, when Torres - García participated in various European early - modern avant - garde movements while establishing his own signature pictographic - constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

In this respect Wright was very much working in the constructivist tradition, as developed by artists in revolutionary Russia — the work of El Lissitzky, for example - or by those in Holland after the First World War, artists such as Theo van Doesburg in the movement known as De Stijl.

Argentine - born Italian artist Lucio Fontana founded the Spazialismo (spatialism) movement in 1947, stating in its manifesto that art should embrace science and technology, but it's not difficult for us to discover elsewhere that this principle, had been the cornerstone of Moholy - Nagy's practice since he drew his first inspiration from the Russian constructivists in 1918.

On the outbreak of the Second World War she moved back to London, but had difficulty in gaining recognition by the British art establishment, possibly because of her identification with Paris at a time when the London art world was beginning to acquire its own separate and different reputation However, in 1952 she was invited by Andre Bloc, president of the Parisian constructivist abstract movement Groupe Espace, to form a London branch of that movement.