Sentences with phrase «european painting galleries»

Someone was out to impress, and the Met's reopened European painting galleries tell its story.

Both painters, Lowe and MacConnel will work in concert on the environment which has been inspired by the European painting galleries at the Metropolitan Museum of Art in New York City mixed with a museum café.

ON VIEW AT THE METROPOLITAN MUSEUM of Art in the European Paintings galleries, Mehretu discusses the portrait of «Juan de Pareja» as a part of the museum's The Artist Project.

Not exact matches

Nineteen lots of Schulz» material, from the collection of past CBS president Dr. Frank Stanton, will be offered within Skinner's upcoming American & European Paintings and Prints sale to be held on March 7th 2008 in Skinner's Boston gallery.

While the Musée des Beaux Arts hosts an impressive collection of pieces from ancient Egypt and European paintings and sculpture dating from the 14th Century, many of the galleries on Rue Burdeau showcase modern artists.

Housed in the magnificent fourteenth - century Château Grimaldi, which briefly served as Picasso's studio in 1946, this museum and gallery contains a number of original paintings, sketches and ceramic works by the artist as well as biographical exhibits and a selection of works by other European artists.

Located in Trafalgar Square, London, The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries.

European, American, British, and Old Master paintings in intimate galleries surrounded by 140 acres of woodland & trails.

From 2 - 3 pm join an Art Gallery of Windsor docent for a free tour of the historical salon wall of Canadian, European and American paintings.

The Nelson - Atkins serves the community by providing access to its renowned collection of nearly 40,000 art objects and is best known for its Asian art, European and American paintings, photography, modern sculpture, and new American Indian and Egyptian galleries.

The launch marks Comas» first solo show in a European gallery, created during his stay in Berlin using industrial materials like cement and household paint in combination with photography and UV printing.

The Gallery is delighted to collaborate with PontArte to bring Puyol's color - infused, jazz - inspired abstract paintings to American and European audiences.

As «Ambassador to the New,» Ileana Sonnabend found room for both Andy Warhol and European painting, but Jasper Johns, whose solo show opened her Paris gallery in 1960, still sends his regrets.

But we didn't want to denude the walls of the permanent collection galleries of European and American modern painting and sculpture.

March Scott was represented in the European Community Contemporary Painting Exhibition (Marzotto Prize) which opened at the Whitechapel Art Gallery, London, on 7 March (closed 4 April).

The gallery is one of few specializing in both American and European painting, sculpture, and works on paper between 1850 and the present day, with a primary focus on the period 1900 - 1980.

York Art Gallery is home to an expansive collection of 1,118 easel paintings that provides a detailed insight into Western European practice.

Bernard Cohen in conversation with David Leeson, learns from paintings in the Flemish room at the National Gallery, as well as from meetings with Barnett Newman, from the danger and purity in European painting, from the paintings and writings of Paul Klee, from Kenneth Martin saying «It doesn't matter what you paint so long as you build something», from Rudi Wittkower at the Slade, from Pueblo pottery, Albert Camus and the Myth of Sisyphus.

1954 May Scott exhibited two recent paintings in Younger American and European Painters, which opened at the Martha Jackson Gallery, New York, on 18 May (closed 12 June).

Installed in the Nave, Long Gallery and Central Gallery at UCCA against a lime - green backdrop, Beijing - based artist Xie Nanxing's seven major oil paintings serve as an informative path that traces the evolution of European oil painting from the Renaissance to modern times.

The Met's galleries for European paintings reopened May 23.

One of the most influential European graffiti artists, best known for breaking the dimensionality of the flat surface graffiti was painted on, took over the entire gallery space by creating site - specific audio - visual installation.

(At the time, paintings were still being wheeled into the half - installed temporary exhibitions gallery that will first show off the Kimbell's pre-1800 European collection, which will then return to the Kahn building after the Modern Masters show comes down.)

1973 Loreto - Hilton Center, Webster College Art Gallery: «Some California Artists» St. Louis, Missouri Art Gallery, California State University Northridge: «Jerry Anderson, Greg Card, Laddie John Dill and Peter Lodato» San Francisco Museum of Modern Art: «A Selection of American and European Paintings from the Richard Brown Baker Collection»

«Masterpieces of European Painting from the Dulwich Picture Gallery» ran at The Frick Collection through May 30, 1010.

The New Art Gallery holds collections of European art, from Dutch marine scenes and British landscapes to French Impressionism and Victorian narrative painting.

Curated by Arne Glimcher, the founder of Pace Gallery, and Tamara Corm, Senior Director at Pace London, this exhibition features eight monumental paintings on loan from Fondation Dubuffet, and significant British and European institutions.

February — March 1950: «Black on White Paintings by European and American Artists» included DeKooning, Dubuffet, Picasso, Tobey, Tomlin and gallery artists

In addition to contemporary American and European painting, sculpture and drawing, the gallery specializes in works by modern masters including Hans Arp, Wilhelm Lehmbruck, Piero Manzoni, Francis Picabia and Kurt Schwitters.

The evening will also feature a 1955 film by Rudy Burckhardt as well as film of Edith Schloss, the subject of a major retrospective now on view at Sundaram Tagore Gallery, leading a tour of her apartment where she vividly describes her own paintings, her career and her vast knowledge of American and European art history and mythology, past and present.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Jean Sutherland Boggs, The National Gallery of Canada (1971); R.H. Hubbard, National Gallery of Canada, Catalogue of Paintings and Drawings, (3 vols, 1951 - 60); Catalogue of the National Gallery of Canada European and American Painting, Sculpture and Decorative Arts, Vol 1 (1982); Catalogue of the National Gallery of Canada Canadian Art (1988 & 1994).

1960 Paintings and Sculpture from the Albright Art Gallery, Rochester Memorial Art Gallery of the University of Rochester, Rochester, NY; Yale University Art Gallery, New Haven, CT Collector's Choice for 1960, Denver Art Museum, Denver, CO European & American Watercolors from the John S. Newberry Collection, the Detroit Institute of the Arts, Detroit, MI The World of Art in 1910, The Isaac Delgado Museum, New Orleans, LA

Weller, Allen S, «Chicago: French Classic and Three Americans», Arts Digest (New York), February, volume 29, no. 10, pp. 14 - 15 Morris, J.A, Two Hundred Years of American Painting, catalogue, Vancouver Art Gallery Williams, Hermann Warner, The 24th Biennial Exhibition of Contemporary American Painting, catalogue, Corcoran Gallery of Art, Washington D.C. Three Young Americans, catalogue, Allen Memorial Art Museum, Oberlin College, Ohio Whiteside, Forbes, «Three Young Americans», Oberlin College Bulletin, volume 12, no. 3, pp.91 - 97 Preston, Stuart, «The Artist in Europe — And in America», New York Times, 8 May, section 6, pp.28 - 29 Devree, Howard, «About Art and Artists: Painting and Sculpture: American Show at Whitney, European at Modern Art», New York Times, 11 May, p. 29 Devree, Howard, «Modern Surveys» Development Since 1920 Seen in Three Shows», New York Times, 15 May, section 2, p. 9 Rosenblum, Robert, «The New Decade», Arts Digest (New York), 15 May, volume 29, no. 16, pp.20 - 33 Devree, Howard, «Response to Today: Museum Surveys Reveal Artists» Reactions», New York Times, 22 May, section 2, p. 11 Coates, Robert M, «The Art Galleries: The Grand Tour», New Yorker, 28 May, volume 31, no. 15, pp.90 - 92 Hess, Thomas B, «Mixed pickings from 10 fat years», Art News (New York), Summer, volume 54, no. 4, pp.36 - 39 & 77 - 78 Ashton, Dore, «Young Painters in Rome», Arts Digest (New York), 1 June, volume 29, no. 17, pp.6 - 7 Baur, John I.H, The New Decade: 35 American Painters and Sculptors, catalogue, Whitney Museum of American Art, New York Laverne, George, «Joseph Glasco», Arts (New York), November, volume 30, no. 2, pp.32 - 36 Hodgins, Eric and Lesley Parker, «The Great International Art Market», Fortune (New York), December, volume 3, no. 6, p. 118

«Poetic Sensibility of Joseph Glasco: Recent Work on View at Viviano Gallery,» New York Times, February 7, 1970 Spector, Stephen, «Joseph Glasco at Viviano,» Arts Magazine (New York), March, volume 44, no. 5, p. 66 Paintings, Sculpture: American and European, catalogue, Catherine Viviano Gallery, New York

Marcello Lo Giudice, New Works Opera Gallery 791 Madison Avenue OPENS: May 10 One of the key movers in the second wave of European gestural art, the Italian painter unveils 15 new paintings and six previous works — all of which are sumptuously textured and saturated abstract creations suffused with light and energy.

The installation at the Leubsdorf Gallery at Hunter College presents works that convey to what extent the European tradition of landscape painting underwent changes in the process of being applied to represent Latin American landscapes.

The more advanced French painters accepted him, and before Canadian galleries were acquiring his paintings on any scale, Morrice's work was moving into the great European public collections.

Although the gallery specializes in contemporary art, it also offers an array of 17th - 19th century oil paintings and prints from European and American artists.

Michael Rosenfeld Gallery recently acquired the collection of Mary Beattie Brady including ten of Johnson's expressionist oil paintings executed during the 1920s and 1930s depicting still lifes and European landscapes, as well as three landscape watercolors.

The catalogue for a 1999 restrospective at London's Hayward Gallery said his work «addresses the central concerns of European painting: how light falls, how space is organized, how to reconcile different ways of looking at things.»

Since joining the Met, Rabinow has curated exhibitions on Cubism, and Matisse, and organised the 2007 reinstallation of the museum's 19th - and 20th - century galleries of European painting and sculpture.

Presented in the BMA galleries adjacent to the European Old Masters, the artist's paintings ask us to consider images of black men and women as embodiments of love, intimacy, and strength in a post-colonial world.

In collaboration with the National Gallery Subject Specialist Network: European paintings pre-1900, Frieze Masters and Art Fund will bring together curators from UK museums with their international counterparts to share professional and specialist networks, knowledge and experience.

A selection of paintings and sculptures from 30 Americans will be strategically situated within our European and American galleries of works dating from the Renaissance to the 19th century.

Serpentine Sackler Gallery, London The American artist's first European solo show takes its name from a JMW Turner painting, which depicts the drowning of 133 slaves by a captain intent on claiming insurance money for goods lost at sea.

The galleries showcase an exceptional collection of art from Africa; important works by established and emerging contemporary artists; outstanding European and American paintings, sculpture, and decorative arts; significant artworks from China; ancient Antioch mosaics; and exquisite textiles from around the world.

When abstract expressionism first crossed the Atlantic in 1959, in The New American Painting, an exhibition that stopped in cities including Berlin, Paris and London (where it hung at the Tate Gallery), it blew the socks off European artists.

Mary Hersov, Head of National Programmes at the National Gallery, London, added: «The National Gallery runs the Subject Specialist Network, European Paintings pre-1900 and a selection of our members who are UK based Curators of Dutch paintings were invited to take part in the Curators Day at FriezePaintings pre-1900 and a selection of our members who are UK based Curators of Dutch paintings were invited to take part in the Curators Day at Friezepaintings were invited to take part in the Curators Day at Frieze Masters.

A related review looks at the Met's 2013 installation of its galleries for European paintings.