Sentences with phrase «early portrait by»

Washington, DC — At its January 2016 Board of Trustees meeting, the National Gallery of Art acquired a number of works including an extraordinary painting by Dutch master Frans van Mieris (1635 — 1681), an early portrait by Alex Katz (b. 1927) of his wife, Ada, a remarkable trompe l'oeil painting by an unknown 17th - century Dutch artist, and a deluxe - format artist's book with 80 woodcuts by Joan Miró (1893 — 1983).

[1] She was the subject of an early portrait by Andy Warhol that made her a Pop Art icon, of sorts, [2] as well as the subject of portraits by Roy Lichtenstein and Robert Rauschenberg.

Among them is an early portrait by Mary Cassatt of her nephew Eddy Cassatt (1875; a gift from the sitter's granddaughter); Jan Miense Molenaer's Self - Portrait as a Lute Player (c. 1635), which joins a self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, from 1860.

Remarkable Painting by Frans Van Mieris, Early Portrait by Alex Katz, Stunning Dutch Trompe l'Oeil Painting, and an Exemplary Artist's Book by Joan Miró Enter the Collection of the National Gallery of Art

A few lots later, after Sotheby's Vienna representative had bought Klimt's # 48 million Flower Garden for an anonymous client, she became engaged in a drawn - out battle for a small early portrait by Klimt which she bought to a round of applause for a triple - estimate # 4.3 million.

Their bulky fullness recalls sculptures by Picasso (particularly the portraits of Marie - Therese Walter from early 1930s) and the earlier portraits by Matisse of Jeanne Vaderin that inspired Picasso.

An exhibition of early portraits by the artist Frank Auerbach will go on display in a special loan show at Offer Waterman Gallery in London from 2 November — 1 December 2012 (Press View Thursday 31 October 2012).

Not exact matches

In Wright's view, the way to get at the historical Jesus is by means of a pincer movement — forward from the picture of early Judaism and backward from the portrait in the Gospels.

Its structure brings to mind a number of early influential projects from the early 1990s: the multimedia CDs published by the Voyager Company, an annotated archive of the writings of Dante Gabriel Rossetti produced by the University of Virginia, and an early Web portrait of 19th - century British culture called the Victorian Web, created at Brown University.

Earlier today, Kate Middleton and her husband William attended a private viewing of the first official royal portrait of the Duchess commisioned by the National Portrait Gallery, prior the public unportrait of the Duchess commisioned by the National Portrait Gallery, prior the public unPortrait Gallery, prior the public unveiling.

PUZZLE is a closely observed portrait of Agnes, who has reached her early 40s without ever venturing far from home, family or the tight - knit immigrant community in which she was raised by her widowed father.

Carl Van Vechten & the Harlem Renaissance: A Portrait in Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as Portrait in Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wholBy Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wholby Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wholby sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whole?

Other striking male performances were provided by: Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin and Anthony Anderson in The Departed; Edward Norton, Liev Schreiber and Toby Jones in The Painted Veil; Wim Willaert in When the Sea Rises; Leslie Phillips and Richard Griffiths in Venus; Clive Owen, Denzel Washington, Christopher Plummer, Willem Dafoe, and Chiwetel Ejiofor in Inside Man; Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase and Shido Nakamura in Letters from Iwo Jima; Greg Kinnear, Steve Carell, Alan Arkin and Paul Dano in Little Miss Sunshine; Edward Norton, Paul Giamatti and Rufus Sewell in The Illusionist; Patrick Wilson, Jackie Earle Haley, Noah Emmerich, Gregg Edelman and Ty Simpkins in Little Children; Keanu Reeves, Christopher Plummer and Dylan Walsh in The Lake House; Nicolas Cage, Michael Pena and Stephen Dorff in World Trade Center; Tim Blake Nelson, Pat Corley, Jeffrey Donovan, Stacy Keach and Scott Wilson in Come Early Morning; Ryan Gosling and Anthony Mackie in Half Nelson; Jason Schwartzman, Rip Torn, and Danny Huston in Marie Antoinette; Matt Damon, Michael Gambon, Alec Baldwin, William Hurt, Billy Crudup, Robert De Niro, Keir Dullea, Timothy Hutton, Eddie Redmayne, Mark Ivanir and Joe Pesci in The Good Shepherd; Hugh Jackman, Patrick Stewart, Ian McKellen, Kelsey Grammer, James Marsden, Shawn Ashmore, Aaron Stanford, Vinnie Jones and Ben Foster in X-Men: The Last Stand; Mads Mikkelsen, Jeffrey Wright, Giancarlo Giannini, Simon Abkarian, Sebastien Foucan, Jesper Christensen and Tobias Menzies in Casino Royale; Ebru Ceylan and Mehmet Eryilmaz in Climates; Adrien Brody, Ben Affleck and Bob Hoskins in Hollywoodland; Jamie Foxx, Danny Glover, Keith Robinson and Hinton Battle in Dreamgirls; Brian O'Halloran, Jeff Anderson, Jason Mewes, Trevor Fehrman, Kevin Smith and Jason Lee in Clerks II; Justin Kirk and Jamie Harrold in Flannel Pajamas; Stanley Tucci, Simon Baker and Adrian Grenier in The Devil Wears Prada; Will Ferrell, Dustin Hoffman and Tom Hulce in Stranger Than Fiction; Samuel L. Jackson, Curtis Jackson, Chad Michael Murray, Sam Jones III and Brian Presley in Home of the Brave; Harris Yulin, Ty Burrell and Boris McGiver in Fur: An Imaginary Portrait of Diane Arbus; Max Minghella, John Malkovich, Jim Broadbent, Matt Keeslar, Ethan Suplee, Joel David Moore and Nick Swardson in Art School Confidential; Joseph Cross, Brian Cox, Joseph Fiennes and Alec Baldwin in Running with Scissors; Jamie Foxx, Colin Farrell, Ciarán Hinds, Justin Theroux, Barry Shabaka Henley, Luis Tosar and John Ortiz in Miami Vice; Michael Sheen, James Cromwell, Alex Jennings, Roger Allam and Tim McMullan in The Queen; Samuel L. Jackson, Ron Eldard, William Forsythe, Anthony Mackie, Marlon Sherman and Clarke Peters in Freedomland; Vin Diesel, Peter Dinklage, Linus Roache, Alex Rocco, Ron Silver and Raul Esparza in Find Me Guilty; Josh Hartnett, Bruce Willis, Stanley Tucci, Morgan Freeman and Ben Kingsley in Lucky Number Slevin; Hugh Grant, Dennis Quaid, Chris Klein, Shohreh Aghdashloo, John Cho, Tony Yalda, Sam Golzari and Willem Dafoe in American Dreamz; Keanu Reeves, Robert Downey Jr., Woody Harrelson and Rory Cochrane in A Scanner Darkly; Adam Beach, Ryan A. Phillippe, Jesse Bradford, John Benjamin Hickey, Jon Slattery, Barry Pepper, Jamie Bell, Paul Walker and Robert Patrick in Flags of Our Fathers; Chow Yun - Fat in Curse of the Golden Flower; Sergi López, Doug Jones, Álex Angulo and Federico Luppi in Pan's Labyrinth; Bill Nighy in Notes on a Scandal.

Back in February, the revered British filmmaker premiered his new Emily Dickinson biopic, A Quiet Passion, at the Berlin Film Festival, and in May, his 2015 film Sunset Song — a portrait of an early twentieth - century Scottish woman named Chris — came to the U.S. (While in New York for Sunset Song, Davies graciously stopped by to regale us with tales of his past.)

Set in the Netherlands in early the 17th - century, during the period of the Tulip mania, an artist (Dane DeHaan) falls for a married young woman (Alicia Vikander) while he's commissioned to paint her portrait by her husband (Christoph Waltz).

Red Desert (Criterion) The DVD debut of Michelangelo Antonioni's color debut is accompanied by two early Antonioni documentary shorts: his debut film «Gente del Po» (1947), a portrait of the hard loves of the people living on the Po River, and «N.U.» (1948), about the street cleaners of Rome.

But in stark contrast to the image of a perpetual «urban underclass» depicted in television by shows like The Wire, sociologists Karl Alexander, Doris Entwisle, and Linda Olson present a more nuanced portrait of Baltimore's inner - city residents that employs important new research on the significance of early life opportunities available to low - income populations.

Beginning with her earliest performance with Fleetwood Mac in 1975 — a wild, haunting rendition of «Rhiannon» that's definitely worth a watch on YouTube — Davis paints a vivid and easily accessible portrait of Nicks» life that's bolstered by quotes from previously published interviews.

An authority on early modern Germany, Roper gives us a compelling and nuanced portrait of a person greatly influenced by his environment.

Like earlier Sony Readers the display can be oriented horizontally, enabling a landscape style mode, and adds a new mode displaying two portrait - mode pages side - by - side (in a similar fashion to viewing a book).

As I dug deeper I was struck by the sense of outrage and loss this painting aroused in so many people: The family of Lea Bondi, determined to reclaim the stolen portrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home toportrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home toPortrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home toPortrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home toPortrait of Wally in the early 1950s and fought to the end of his life to bring it home to Vienna.

At the Met, sixty works carefully chosen from the Lehman Collection offered a rapid, staccato trip through the history of European art, distinguished by such spectacular inclusions as a scrupulously observed walking bear by Leonardo da Vinci, from the late quattrocento, a cranky Dürer self - portrait from about the same time, an exquisite Fra Bartolomeo landscape of figures moving through mountainous terrain, from the very beginning of the cinquecento, and a startlingly intimate, casual study after Leonardo's Last Supper, drawn in red chalk by Rembrandt in the early 1630s, when he was still in his twenties.

Among contemporary American photographers, Opie is exceptionally attuned to the histories of representation, and Portraits and Landscapes vigorously embodies the artist's conversation with classical European portraiture as well as the American Pictorialist idiom within landscape photography championed by Alfred Stieglitz in the early 1900s.

She began painting in the 1920s but it was not till the early 1930s that she really got into her stride, a period represented in the exhibition by her sober portrait Martin Jay (1932).

She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism.

The show's early galleries think past boundaries of media — Imogen Cunningham's double - exposed portrait of Martha Graham hangs next to a Charles Burchfield sunburst — and of race and gender, most persuasively via the juxtaposition of a blah abstract totem by Robert Laurent with a better 1931 bust by Nancy Elizabeth Prophet, an artist of the New Negro Movement.

EUROPEAN and AMERICAN paintings framed by Gill & Lagodich include (in alphabetical order): Milton Avery, Conversation in Studio, 1943; Jules Adolphe Breton, The Song of the Lark, 1884; Elbridge Ayer Burbank, six Native American portraits, Kah - Kap - Tee / Moqui, Wick - Ah - Te - Wah / Moqui, Ko - Pe - Ley / Moqui, Pah - Puh / Moqui, Shu - Pe - La / Moqui, Ho - Mo - Vi / Moqui, 1898; Gustave Caillebotte, Paris Street; Rainy Day, 1877; William Merritt Chase, North River Shad, c. 1910; Thomas Cole, New England Scenery, 1839; Jasper Cropsey, Blasted Tree, c. 1850; Gustave Courbet, Reverie (Portrait of Gabrielle Borreau), 1862; Thomas Doughty, Coming Squall (Nahant Beach with a Summer Shower), 1835; Thomas Eakins, Study for «William Rush Carving His Allegorical Statue of the Schuylkill River», c. 1876 - 77; DeScott Evans, The Irish Question, 1880s, Marsden Hartley, The Last of New England — The Beginning of New Mexico, 1918/19; George Hitchcock, Flower Girl in Holland, c. 1887; Winslow Homer, Peach Blossoms, c. 1878; Edward Hopper, Nighthawks, 1942; George Inness, Crossing The Ford, 1848; George Inness, Summer in the Catskills, 1867, George Inness, The Mill Pond, 1889, George Inness, Early Morning, Tarpon Springs, 1892; George Inness, The Home of the Heron, 1893; George Inness, After A Summer Shower, 1894, Joshua Johnson, Mrs. Andrew Bedford Bankson and Son, Gunning Bedford Bankson, 1803/05; Otis Kaye, Heart of the Matter, 1963; Fernand Leger, Reclining Woman, 1922; Fernand Leger, Still Life, 1926; Edouard Manet, Still - Life with Carp, 1864; Edouard Manet, Bullfight, 1865/66; Julius Gari Melchers, Mother and Child, c. 1906; Jean - Francois Millet, In the Auvergne, 1866/69; Jean - Francois Millet, Bringing Home the Calf; Jean - Francois Millet, The Shepherdess; William Sidney Mount, Bar - Room Scene, 1835; Camille Pissarro, The Place du Havre, Paris, 1893; Severin Roesen, An Abundance of Fruit, 1860; Albert Pinkham Ryder, The Essex Canal, 1896; John Singer Sargent, Venetian Glass Workers, 1880/82; John Singer Sargent, Thistles, 1883/89; John Singer Sargent, The Fountain, Villa Torlonia, Frascati, Italy, 1907; Elihu Vedder, The Fates Gathering in the Stars, 1887; Charles Wilbert White, This, My Brother, 1942; Hale Woodruff, Twilight, 1926; and more...

By the early»60s, he had moved toward his subject, intimate portraits of young men and the geometry of the city transformed into accumulations of lines and rectangles.

New York, NY (November 8, 2015) Color came streaming into the Leslie Feely gallery on East 68th Street early November as the gallery unveiled a 14 - portrait gallery of works by painter, Jules Olitski.

For lovers of elegant Neo-classicism, there were incisive portraits by Ingres from the eighteenth century and early nude studies by Degas from the nineteenth century, plus for dessert, a gorgeous, urgently scribbled Seurat of a silhouetted colt, c. 1882 — 1883.

A British room contains four works by Lucian Freud (1922 - 2011), ranging from an early painting (Self Portrait, 1949) to the remarkable etching, Self - Portrait: Reflection (1996); two paintings by Francis Bacon (1909 - 92); the heavily impasto Head of Man (Self - Portrait)(1964) by Leon Kossoff (b1926), whose thick paint swirls offer his own form of distortion, concealment and ensuing excavation; and a delightful recent graphite piece by Frank Auerbach (b1931), Self - Portrait II (2010).

The film is inspired by the life and work of August Sander, a famous German portrait photographer in the early 20th century.

As demonstrated in the exhibition's 1972 portrait of Warhol, he began by appropriating commercially printed imagery, and it was not until the early 1970s that he took his first photographs with a Polaroid camera.

But then its portraits range from early photography by Wilhelm von Gloeden and Wilhelm von Plüschow to Jimmy DeSana in performance, daubing white stuff in his crotch.

Phillips, an artist best known for his evocative large - format portraits of people at society's fringe, found himself necessarily responsive to those queries warranted by Schutz's painting earlier this year.

It has Forum's mix of early modern drawings, by Joseph Stella and others, and less than classic contemporaries — including David Mach's portrait collage of Che Guevera in playing cards, for who can spell cheesy without che?

He invited a coterie of artist friends associated with Gallery Nature Morte and early Metro Pictures to have their portrait taken on 46th Street by a studio photographer, James Kriegsmann.

Luhring Augustine is pleased to announce an exhibition of works by Larry Clark that will span his career from 1961 to the present, starting with his earliest portrait of his friend Johnny Bridges.

Included in the show is an early, rare, self - portrait drawing by Willem de Kooning, c. 1942, and a dynamic portrait by David Alfaro Siqueiros, c. 1936.

The work is an intimate portrait by one artist of another, and therefore stands in tradition of earlier works by Anna Gaskell, for example of her SVETA series, which was focused on Svetlana Lunkina, the former prima ballerina of the Bolshoi Theatre, and of her film Echo Morris, which was Gaskell's first portrait of the artist Sarah Morris.

Inspired by classic group portraits throughout art history, she has taken black - and - white film photographs of the artistic crowd inhabiting Bushwick today, which will be exhibited alongside her photos of early Bushwick and Panero's writings on the neighborhood.

Display highlights include a portrait painting of a young woman in profile by Armenian - Egyptian artist Ervand Demirdjian titled Nubian Girl, which is believed to be one of the earliest works in the collection made between 1900 - 10.

A lot is packed into the space without it seeming at all crowded, with surprising early things alongside classic works by Holzer (streaming LED signs and granite benches emblazoned with her aphorisms and poetic texts), Lawler (photographs of works of art uncomfortable in their contexts), Sherman self - portraits and Trockel wool paintings.

Its collection ranges from visionary works by Henry Darger and Martin Ramirez to quilts and Early American portrait paintings.

Artist Larry Clark, born in Tulsa, Oklahoma, gained early insight into the art of photography by assisting his mother with her portrait business.

Following the acclaimed 2016 Jerwood Gallery exhibition of crowd - sourced works by John Bratby in 2016, Jean Cooke: Delight in the Thing Seen (24 May — 10 September) is a one - room display that explores the work of Bratby's first wife and subject of many of his early portraits, the artist Jean Cooke, RA.

Yet preceding these are some fascinating early, representational works by the same: a modest Pollock self - portrait, for instance, is an unsettling surprise.

A small exhibition at the National Gallery (in conjunction with Tate Britain), «Reflections: Van Eyck and the Pre-Raphaelites», seeks to place the Arnolfini Portrait at the head of this family tree and mixes early Netherlandish works with those by the PRB and its heirs.

By referencing the famous painting The Artist's Parents, Baselitz revisits an early double portrait of himself and his wife Elke from 1975.

Informed by her «Rear Screen Projection» series from the early 1980s (the artist's first foray into color photography), these gigantic self - portraits bring to mind the scale of Hollywood as well as the artistic movements that have continually mined its grandiose clichés.