Sentences with phrase «early narrative paintings»

Early narrative paintings depicted heavy subjects such as anxiety, doubt, sexuality, and death, but in later years, he turned toward landscape painting, exploring light and abstract patterns of nature.

Each painting was born out of his earlier narrative paintings that have been worked and re-worked into geometric compositions recording each moment with a variety of gestures and mixed materials including oil paint, encaustic and collage.

Not exact matches

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

Since the early 1960s, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel.

This autonomous film narrative combining painting and performative interventions reminds of an early student film by Roman Polanski «Two Men and a Wardrobe» (Dwaj ludzie z szafa, 1958).

The Pyes» artistic output spans photography, film, performance, video, and installation while acknowledging the profound influences of surrealism in film, narrative conventions in painting, 19th and early 20th century portraiture, and conceptual approaches to subject matter.

The artist generates the subject matter of his art from the material substances with which he works, an approach made most memorable perhaps in Zucker's «cotton ball paintings» of the early 1970s with their narrative images of plantation life in the American south.

Despite the art historical precedence, this gesture of continuous narrative, common to early Italian Renaissance painting, highlights feelings of disorientation.

An early focus on drawing, evident in murals and installations, evolved into large, narrative paintings clustered with bodies — and heads.

The Art of the Flower positions floral paintings within a broader art historical and cultural narrative and reveals how the traditional genre was reinvented through artistic experimentation in the 19th and early 20th centuries.

Known for his skilled handling of light and shadow, and for the enigmatic narratives embedded in his paintings, Larraz's early experience as a political cartoonist emerges in his incisive, often humorous depictions of individuals.

As a coda to this narrative, the exhibition includes Pearlstein's most recent paintings, a series of three canvases completed in early 2015: nude female figures are animated with vibrant animal masks as they lounge and recline over Navaho rugs.

Ever since he was a student in the early 1980s, Dexter Dalwood has been interested in producing a kind of narrative painting — art that tells a story.

Inspired by the hand scrolls and painted screens of early 17th Century Japanese artist Tawaraya Sōtatsu, who combined the traditional themes of the indigenous school of Japanese narrative scroll painting with the bold, decorative designs of the great screen painters of the Azuchi - Momoyama period.

My earliest reviews of Eric Fischl's «narrative paintings» — they date some thirty - five years back — bore the titles «Snatch and Snatching» (1981), and «Analytical Pubism» (1985), their snarkiness meant to take note of the then - tenderfoot painter's louche imagery.

In their conflation of multiple temporalities and narrative dimensions, the paintings might be better understood as «world landscapes» (to borrow a phrase from early Netherlandish scholarship) than as landscapes or abstract compositions.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

Among the earliest examples of Conceptual Art, it was with these seminal paintings that Baldessari reconsidered the practice of artmaking, questioned the concepts of authorship, originality, and aesthetic judgement, and first explored the narrative potential of imagery and the associative power of language that continues to inform his work today.

On the surrounding walls, Cantor's early possibly dream - inspired paintings added an enigmatic, oblique narrative.

The son of a jewelry maker and a pupil of the old masters of Italian art, Franzese started painting early on, moving through realist, expressive, and narrative styles.

Drawing on influences such as Chicago Imagist Jim Nutt and the early work of David Hockney, his painting call attention to the interplay of narratives, both historical and artistic.

He called this work The Drain, and it is a piece emblematic of a «cinematographic» style that he developed across many series, which are overly allegorical, full of suggested narrative and allusions to both history painting and scenes from early modern painting.

Richter's stark, lovely and somewhat eerily tinted photographs are reminiscent of stained canvas in abstract color field paintings, which have a fresh narrative viewpoint; in this instance, flowers that may have been influenced by early darkroom experiments by Man Ray.

In the new paintings the two opposing forces — Loid (the being with stark, paternal energy) and Painter (the being with colourful, lenient, maternal energy), both recurring characters in Hancock's previous works — are re-joined having been separated early on in Hancock's narrative, around 50,000 years ago.

Compared to Baroque history painting from other countries, they shared the Dutch emphasis on realism, and narrative directness, and are sometimes known as the «Pre-Rembrandtists», as Rembrandt's early paintings were in this style.

The painted narrative quilts for which Ringgold is best known grew out of these early paintings, and denounce racism and discrimination with their subject matter.

This exhibition traces a narrative of Schor's work since the early 90s to the present, from Semi-colon in a Flesh Comma (1994) which punctuates the text of the female body, and Undue — a section of War Frieze, her major 1991-1994 200 - running feet long multiple canvas work on militarism and aggression, painted in the aftermath of the first Gulf War but still as timely today — through representations of the nature of artmaking itself — the sign, the trace — to the empty thought balloon when grief has left the artist at a loss for words, to her most recent works schematically figuring the artist as thinker, reader, writer in an uncertain world.

With these earlier paintings, created throughout the early 1960s during her time in America, Iannone commenced her exploration of vibrant color structures and intimate visual narratives.

Realized in loud, garish hues partly informed by the artist's early exposure to Socialist Realism, Rauch's enigmatic pictorial narratives never vanish into explanation: «My paintings have something vital about them, like an animal, a living thing,» he says.

The works presented at the exhibition shy away from narratives and meanings, bringing into the fold of structuralist reflection existing images of gardens presented in one of the best - known paintings and a puzzle of early 20th century Polish symbolism, as well as photographs taken by Natalia in an overgrown park in Mallorca during a 2014 residency at CCA Andratx.

Such works as The Whiteness of the Whale (IRS - 1 2X)(1987) depart radically from Stella's earlier paintings and begin to employ narrative.

Since the early 1980's he sought to create paintings informed — on a meta - narrative level — by his personal experience, while also reflecting the fundamental rules of his pictorial vocabulary.

Since the early 21st century, Trenton Doyle Hancock has been merging comic book narratives and abstraction in his vibrant, dizzyingly detailed prints, drawings, and mixed - media paintings, in which he explores the struggles within himself and in our world.

«America's Cool Modernism» takes the viewer on an impressive narrative journey through the works of famous painters and photographers of the 1920s and «30s including early paintings by Georgia O'Keeffe; photographs by Alfred Stieglitz, Paul Strand and Edward Weston; and ends with the melancholy of Edward Hopper's cityscapes.

However, Bluemner's paintings fit less neatly into narratives of early modernism than those of his peers.

In the ambitious paintings from this time, the social and political imagery and narrative of earlier work was replaced by an increasing focus on material, process and colour and a search for new possibilities for painting.

Entering the New York art world in the late 1960s and throughout the 1970s, Diao first engaged, in his early work, in the complex position of painting in the aftermath of the Abstract Expressionists and the formalist critical debates that followed them, successfully pushing painting into conceptual territory while allowing him to deal with aesthetics, history as well as personal narrative in his painting.

These range from the emotionally charged constructions of the early 1960s and his impeccably painted landscapes of the American West, to his deeply disturbing portraits from the late 1970s and his remarkable recent narrative tableaux, which seamlessly blend painting with found materials to create an extraordinary illusion of depth.

Rhode's street acts, in which he chalks or paints stationary objects on walls, and then engages with said objects, are energetic narratives, aggregates of Rhode's scholarly references to early performance, action and street - influenced art — Vito Acconci, Jean - Michel Basquiat, the Japanese movement gutai — and to his own specific upbringing in post-apartheid South Africa.