Sentences with phrase «cubist period»

In Mexico he was admired by the muralists, not only Rivera — who had been influenced by him during his Cubist period — but also Orozco.

In the main gallery, a series of concrete heads (cast from the inside of Halloween masks) lie on blankets, their partially effaced features reminiscent of the images of Picasso's proto - Cubist period or the shattered remnants from the conquest of some fantastic city.

Since I was very young, I have been exposed to artists ranging from the cubist period to the present, and as a collector and private dealer, I have always (comfortably) hung various periods juxtaposed.

My idea of abstract Expressionism was that it tried to skip the cubist period.

When I turned to abstract art, I wanted to skip the whole Cubist period.

The African - influenced Period was strongly influenced by African sculpture, which then led to Picasso's Cubist Period, objects are broken up, analyzed, and re-assembled in an abstracted form.

His cubist period at the time of his stay at the Bateau - Lavoir where the influence of great Masters such as Picasso and Juan Gris is obvious without being an imitation.

This work, along with La Ville de Paris (City of Paris) by Robert Delaunay, was the largest and most ambitious Cubist painting undertaken during the pre-War Cubist period.

Picasso Museum (Barcelona) Established by Jamie Sabartes and opened in 1963, it houses some 3,500 items by the 20th century Spanish artist Pablo Picasso, including works from his «Blue», «Rose», «African» and Cubist periods.

Laid out on two floors of a giant airplane hanger, the show covered the entire career of Giacometti, from his early years to his surrealist and cubist periods, and ended with his widely acclaimed works from the 1960's.

Not exact matches

Imagine a cinematic equivalent of a Picasso cubist portrait, but instead of showing multiple perspectives of an object in an image, it presents experiences from different periods in a life in a single narrative.

Georges Braque and the Cubist Still Life, 1928 — 1945 is the first in - depth look at the years leading up to and through World War II, a period in Braque's career when he used the theme of still life to synthesize cubist discoveries and hone his individual Cubist Still Life, 1928 — 1945 is the first in - depth look at the years leading up to and through World War II, a period in Braque's career when he used the theme of still life to synthesize cubist discoveries and hone his individual cubist discoveries and hone his individual style.

«This once - in - a-lifetime exhibition comprises works from every phase of Picasso's extraordinary career, including masterpieces from his Blue, Rose, Expressionist, Cubist, Neoclassical and Surrealist periods,» describes John E. Buchanan, Jr., director of the Fine Arts Museums of San Francisco.

Several works from the 20th century close the exhibition: three masterly drawings by the young Pablo Picasso, Two Fashionable Women (1900), a blue - period Head of a Woman (c. 1903), and a cubist Standing Nude (summer 1910); an imposing study of a female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal control.

It was an early cubist work that Schapiro shared with her students, contrasting its bold formal energy and its improvisational use of collage materials with a clear feminine source with Robert Delaunay's more etiolated and academic paintings of the same period.

From the impressionists to the surrealists, the cubists to the pop - artists - readers will find a wealth of information as well as hours of enjoyment learning about this popular and prolific period in art history.

More than half of the Lauder Collection focuses on the six - year period, 1909 - 14, during which Braque and Picasso — the two founders of the Cubist movement — closely collaborated.

Over this period Caziel exhibited alongside Vasarely, Manessier and Hartung at the Salon de Mai, annually submitting works which show reverence for the early cubist innovations of Braque and Picasso through which he arrived at his own personal brand of abstraction.

Georges Braque and the Cubist Still Life, 1928 — 1945 offers the first detailed examination of Braque's experiments with still lifes and interiors during the years leading up to and through World War II, an overlooked and transitional period in the career of this leading founder of Cubism.

Picasso had organized a very personal look at his work, with pieces chosen from his pink and blue periods and his Cubist and neo-classical phase as well as Surrealist creations, and the homage now on show reconstructs this subjective survey.

Their aesthetic contrast demonstrate his development through post-impressionist, cubist and expressionist influences during this period.

Significant works in the exhibition include two 1917 Matisse paintings of the Italian model Lorette, Picasso's Rose Period portrait of a «Woman with a Kerchief», Dufy's 1929 «Reclining Nude», and a powerful 1914 Cubist collage by Juan Gris.

Through a pragmatic study of the societal changes of this time period, Nesbit attempts to understand the break towards abstraction, best characterized by artists Pablo Picasso and George Braque with the rise of Cubism, in which Nesbit interprets the Cubist line as an «embrace of the language of industry».

In addition, during this early postwar period, Rosenberg gave financial support (in the form of purchase contracts or small stipends) to a number of needy Cubists, who might otherwise have abandoned painting altogether.

Like their Cubist, Dadaist, and Surrealist ancestors who came to collage in the World War I period, these later makers of collage complement a concern with picture - and world - making with an attention to material instability.

Whereas the artists» earlier Cubist phase, known as «Analytic Cubism,» was comprised of paintings that fragmented the world into a series of basic lines and curves, this later period of «Synthetic Cubism» involved combining fragments of various materials to create a new whole.

The diagonal slopes created by the various slanting paintings suggest a cubist bas - relief that compresses art historical time periods and physical space.

Important artists who left Europe and settled in America during the inter-war period, included the Armenian - born Arshile Gorky (1905 - 48), who settled in the US in 1920, the German - born Hans Hofmann (1880 - 1966), the ex-Bauhaus painter Joseph Albers (1888 - 1976), the Cubist Fernand Leger (1881 - 1955), the geometrical abstractionist Piet Mondrian (1872 - 1944), and the Surrealists Yves Tanguy (1900 - 55), Andre Masson (1896 - 1987), Max Ernst (1891 - 1976), who briefly married the American heiress and collector Peggy Guggenheim, and Andre Breton (1896 - 1966).

During this period, Mitchell produced Cubist inspired works that reflected the influence of Picasso.

During this period he painted landscapes and Cubist abstractions.