Sentences with phrase «european painting movements»

Not exact matches

His paintings are, fittingly, usually seen as part of that heroic art movement, even though they replace its existential undercurrents with a stylistic capriciousness that sifts through European modernism with abandon.

Perhaps more telling, however, is Richter's statement that the Charts more appropriately belong to Pop Art, a movement in which the artist was a major player on the European art scene, and to which art historians attribute the black and white Photo Paintings that immediately precede the Colour Charts.

Co-curated by Sylvie Patry, Consulting Curator at the Barnes Foundation and Chief Curator / Deputy Director for Curatorial Affairs and Collections at the Musée d'Orsay, Paris, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art, Berthe Morisot: Woman Impressionist will both illuminate and reassert Morisot's role as an essential figure within the impressionist movement and the development of modern art in Paris in the second half of the 19th century.

Co-curated by Sylvie Patry, Chief Curator / Deputy Director for Curatorial Affairs and Collections at the Musée d'Orsay, Paris and Consulting Curator at the Barnes Foundation, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art, Berthe Morisot, Woman Impressionist will both illuminate and reassert Morisot's role as an essential figure within the Impressionist movement and the development of modern art in Paris in the second half of the 19th century.

In an attempt to compete with European masters whose art wealthy American art patrons so desired, many Americans traveled to Paris and enrolled to study painting and sculpture at the prestigious Ecole des Beaux - Arts or to study with some of the most influential artists of the Impressionism movement in their studios or privately run academies.

Around the mid-1800's, the time that the French Impressionism lost its edge and became a valuable style, with various exhibitions happening in America presenting the European painters, the American painters began to gather in artistic colonies that centered on outdoor paintings, which later influenced a movement of garden art in America.

The remarkable naturalism and minutely observation of nature never deserted the American landscape artist and just a few of them surrendered to the spontaneity of European movement's idiom, while the rest continued producing realistic style portrait art and Barbizon School landscape paintings.

Apart from the impact that Northern European modernist landscape and figurative painting had on the members of the Group of Seven, the breakthrough to modern movements came in Montréal in the 1940s through efforts initiated by artists themselves.

Originally a painter and lithographer, Roszak transitioned to sculpture following an 18 - month fellowship in Europe, where he became fascinated by Constructivism, the Bauhaus, and other European avant - garde movements, particularly the spellbinding paintings of Giorgio di Chirico.

Alongside works by the first generation of great American Hyperrrealists, including Richard Estes, John Baeder, Tom Blackwell, Don Eddy, Ralph Goings and Chuck Close, are European paintings and works from contemporary artists influenced by the movement.

Art Informel in Vienna European abstract paintings from the post-war Art Informel movement take centre stage at Dorotheum's Contemporary Art sale in Vienna on 31 May.

European Painting and Sculpture after 1800: MFA Highlights features these well - known and much - loved works, organized into thematic chapters discussing the major art movements represented in the collection, with an introduction that describes the major phenomena that helped chart the course of art in the 19th and 20th centuries.

The museum's collection of 20th - century European and American painting and sculpture is equally comprehensive and covers virtually all the major art movements on both continents.

Drawing from various postwar art movements and developments: Op Art, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of work.

This fascinating exhibition contains over 100 paintings, drawings, prints and sculptures by major European historic artists from the surrealist movement: Rene Magritte, Max Ernst, Georgio de Chirico, Joan Miro, Dorothea Tanning, Hans Bellmer, Jacques Herold, Oskar Fischinger, and Frederick Kann.

Movements represented include Late Gothic, the Italian and Northern Renaissance, Baroque, Dutch Realist portraiture and genre painting, Neoclassicism, European Romanticism, plus a series of German Expressionism paintings by Max Beckmann.

Feng's paintings were more whimsical and escapist than those of the Political Pop movement of the time — from Wang Guangyi's juxtapositions of Chinese revolutionary workers with Western brand labels to Yu Youhan's Andy Warhol - like renditions of Chairman Mao as Marilyn Monroe — but nevertheless they captured the attention of the same market of predominantly European and American buyers.

Hess had championed the American abstract expressionists as the heirs to European abstraction, which, as Hess argued in his 1951 book on the movement titled Abstract Painting: Background and American Phase, had formerly been centred in Paris and had recently relocated to New York: «New York becomes Paris for the art of its time, and also takes over Paris» tradition.»

The international CoBrA movement of 1948 - 1951, a European avant - garde embodying post-WWII freedom, has been compared to American Action Painting in both its aesthetic and its effect.

The European equivalent of the gesturalism or «action painting» style of American Abstract Expressionism, COBRA was a non-conformist avant - garde movement founded by painters, sculptors and graphic artists from the Danish group Host, the Dutch group Reflex, and the Belgian Revolutionary Surrealist Group.

The Phillips» collection began as a museum of modern art, exemplifying Paris - based European art movements such as French Realism (c. 1850 onwards) Impressionism (c.1873 - 83), Post-Impressionism (c. 1880 onwards), Fauvism, Intimism, Expressionism, Primitivism, Symbolism, and Cubism, before taking on 20th century styles such as Precisionism, American Realism, Ashcan School, Abstract Expressionism, Colour Field painting, Kinetic art, and geometric abstract art.

Through this two - way relationship, Italy made a major contribution to European art as a whole through movements such as Futurism, Metaphysical Painting and Arte Povera.

It would be these painters - including Willem de Kooning (1904 - 97), Mark Rothko (1903 - 70) and Pollock, supported by European expatriates like Hans Hofmann (1880 - 1966)- who developed the general movement called Abstract Expressionism, as well as action painting (Pollock), gestural painting (de Kooning) and Colour Field painting (Rothko).

Tomma Abts» small paintings look as though they belong to some forgotten, between - the - wars European abstract movement, yet she has said that what excites her is the idea of work so unplaceable that it might point to the «art of the future».

A key figure in the British Romantic movement of the early 19th century, Constable, together with J.M.W. Turner, changed the course of European landscape painting forever.

Characterized by his use of line, gesture, and movement, De Niro's art is grounded in the act of painting and drawing, not subject matter, while also often referencing European masters from Delacroix to Matisse.

Characterized by his use of color, gesture, and movement, De Niro's art is grounded in the act of painting and drawing, bridging European modernism, especially French, with Abstract Expressionism.

This sweeping survey exhibition seeks to exhume from historical misappropriation non-objective painting as a movement of European abstraction re-homed in the vertiginous violence of WWII to the streets of Manhattan and as a historical event in the history of art whose legacy singularly influenced the rise of abstract expressionism in the following generation.

Prachensky's work can be categorized as part of the Informalism movement, which developed in Paris during the 1950s as the European counterpart to American Action Painting.

This first iteration of what is now a global institution spent the first 10 years avidly exhibiting the very finest international examples of the proponents and antecedents of this particular avant - garde and predominantly European abstraction, including those who were considered to be the founders, at least according to Rebay, of the movement of non-objective painting: namely Wassily Kandinsky and Rudolf Bauer.

The least strident sub-variant of the wider Art Informel style - itself one of the most important European modern art movements of the post-World War II period - Lyrical Abstraction (or «Abstraction Lyrique») was a French style of 20th century painting in the manner of American Abstract Expressionism.

The significance of these artists for the new American movement was acknowledged as early as 1944 by Jackson Pollock himself: «The fact that good European Moderns are now here is very important for they bring with them an understanding of the problems of modern painting.»

A key member of the Art Informel movement (the European variant of Abstract Expressionism), he was associated initially with the Lyrical Abstraction wing, before becoming more calligraphic in style, not unlike the painting of Pierre Soulages (b. 1919).

A sub-variant of the wider Art Informel style - one of the most important modern art movements in Europe during the post-World War II period - Tachisme was a blotchy form of gestural painting, a European variant of «action - painting.»