Sentences with phrase «even younger painters»

Not exact matches

She even falls in love with the Brooklyn - born scenic painter on Call of the Wild, a movie starring Young, Clark Gable and a dog.

That's always what interested me, even when I was a very young painter... I decided if I was going to talk about paintings in which you were seeing reality... talk about the act of observation, I had to get closer to how I observed rather than just use as a model how everyone else observed.

Even as a young painter, he was well aware that ideas about what constitutes art and what doesn't can change over time.

Even as a young painter, he founded the painting movement Capitalist Realism in 1963, alongside Gerhard Richter and Konrad Fischer.

Sotheby's started the evening's other 38 lots with the 2012 painting «Drown,» by the young Nigerian - born figurative painter Njideka Akunyili Crosby, who earlier this year was the subject of a one - woman show at the Norton Museum of Art in West Palm Beach, Fla..

Even as Painters Eleven was breaking up, their example was important to a strong and energetic group of young artists centered on Av Isaacs» gallery.

Even today, if you wanted to be a young figurative painter you may be discouraged because there's some other new movement that seems more compelling.

But even as Hoyland internalised the Greenbergian dogma of flatness, the painter's deviations from it are precisely what makes the young British artist's canvases so interesting.

Yet, even at a time when some Europeans considered him America's foremost living painter, Tobey was comparatively neglected at home, his reputation overshadowed by the younger, more muscular practitioners of Abstract Expressionism — Pollock, Kline and de Kooning foremost among them.

They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.

It may even be said that the result, if not immediate, of this remarkable and well conceived and managed display, will perhaps ultimately create a second so - called art renaissance in these United States, the first having been that made by the so - called Munich band of young painters, who returning from Munich and Paris in 1877, with new ideas and intense enthusiasm, to their native shores, soon after killed and assisted in the burial of the then long triumphant, narrow and dry, so - called «Hudson - River School» of Art.

Taken as a whole, the exhibition is a clean, a strong, and a varied one and of vast artistic, educational interest and importance, and, if I mistake not, will have as a result, and despite the unquestionably skeptical and even hostile attitude towards the merits of the new foreign movements, or an indisposition to accept them as being worthy of the title of art movements in general — the most marked effect upon the cause of art in America, and upon the coming production of American painters and sculptors, than anything that has occurred since the first exhibition of the so - called Munich band of young American painters in the old American art galleries in 1878, and of the work of Monet and his contemporaries and followers held here in 1883.

His allegiance to the stretched canvas was so unlike anything else shown in France at that time — an era dominated, in terms of avant - garde painting, by the Supports / Surfaces dogma of the loose canvas (la toile libre, literally the «free» canvas, freed from the stretcher)-- that he exerted a powerful fascination on younger painters even though they could barely figure out his work.

Gilbert and George / Bacon / Kossoff and Auerbach / Bruce Maclean / Lucien Freud are irrevelent.Take in the awfull Peter Blakes and even worse David Hockneys and the lack of visual acuity at any level, especially institutional, becomes apparent.The curatorial debut of a new face at the top needs to dig a little into the genuine groundswell of creative activety that has characteristed painters and sculptors lives in England over the past 40 years.If I was a young dad taking my kids out for the day on the Bank holiday, Id have concluded there wasnt any decent English Art after the Bomberg in 1914!

Even in Péladan's time two schools of thought existed, artists such as Jean - Auguste - Dominique Ingres thought, «To create a work of art one must have a certain elevation of soul and faith in God,» 1 while Gustave Courbet discouraged young painters from using mystical, religious, and Christian subject matter, advocating that painting should represent what the artists can observe, not the invisible and nonexistent.

Like the Jewish Museum's «Primary Structures,» Michael Fried's «Three American Painters,» or even Damien Hirst's «Freeze,» «Pictures» seems less an object of history than of folklore in the minds of those too young to have seen it firsthand.

For those who want to look even farther back for promising directions that painters might further explore, there are certainly insights to be gained from an important survey of Richard Diebenkorn's work from the 1950s and 1960s, currently at the de Young Museum in San Francisco.

For this Tuesday Evenings lecture, Vassell presents DARK ART: A New Conversation with Abstraction, in which she proposes that «a new and grittier form of abstraction permits us to theorize that a younger generation of painters, consciously or not, is producing ruggedly electric paintings that tell somber and vicious tales... making a statement on the sociopolitical inevitability of a world gone mad.»

Many younger painters aren't even aware of what her 50's pictures look like.»