Sentences with phrase «figure painting remained»

Not exact matches

David G. Roskie's compelling study Against the Apocalypse: Responses to Catastrophe in Modem Jewish Culture discusses the cross symbol's use not only in Chagall's painting, but in the literary work of Der Nister, Lamed Shapiro, Sholem Asch, S. Y. Agnon and the poet Uri Zvi Greenberg (Harvard University Press, 1984 [pp. 258 - 310]-RRB- In literature written before World War II (and under the influence of biblical criticism that had emancipated Jesus» image from its doctrinal Christian vesture), these authors used the cross symbol variously; for Asch, the crucified figure in all his Jewishness symbolized universal suffering; for Shapiro and Agnon, on the other hand, the cross remained an emblem of violence and a reminder of Christian enmity against Jews.

iPad sales remained stagnant, rising from 14 million to 14.1 million year - over-year, but that was to be expected — next quarter's iPad Air and new iPad mini sales figures will paint a clearer picture of demand there.

The standing remains revealed walls that had once been painted with rich, saturated colors in shapes depicting holy figures, animals, and plants.

Many of Iben G. Vestergaard's silicate paintings imply and fragment figures and faces, while others remain ethereal and non-objective.

De Kooning remains a paramount figure of twentieth century art - making, rewriting the conventions of paintings in ways that continue to be relevant.

Mr. Robins asserts that he sold a painting of a dark figure by the highly praised South African - born artist Marlene Dumas through the David Zwirner Gallery in Chelsea in 2004 with an agreement that the sale remain confidential.

The drawing, Sketches of Portraits, emerged at a Paris auction in 2012 and upended several long - held assumptions about the fantasy figures: 14 of the sketches have been identified with these paintings, and four presumably relate to works that remain unknown.

Though senior figures have displaced Doig as the most expensive living European painter — first Freud in 2008, then Gerhard Richter, twice — he continues to command stellar prices, including $ 12m last year for «The Architect's House in the Ravine» (1991), another example of the early 1990s paintings based on memories of Canada that remain his bestsellers.

The female figure has become a mere apparition or spectre: a silhouette that is barely outlined, or a smile without a face; it's even withdrawn entirely from a few paintings, where only an empty frame or a black monochrome rectangle remain.

According to Katharina Manchada, the curator of the museum exhibition, it was important to show these recent paintings to contextualize Kusama as a contemporary artist «to remind people that she remains extremely vital as an artist working today, in addition to being a historical figure.»

The human figure remained Bacon's principal subject, however in the 1950s he made several paintings of animals and a small series of African landscapes and animals.

Whilst they are seemingly devoid of a human presence, there remains a subtle anthropometric quality to his compositions; the dimensions frequently relate to the proportions of the body, and his use of elements such as light, heat and mirrored surfaces — made using automotive spray paint on aluminium sheets — allude to, or reflect, the figure.

A pioneering figure, Rauschenberg remained resolutely committed to the principles of experimentation and constantly challenged the notions of traditional painting.

In contrast to the graphic, cartoon - like quality of Essenhigh's early works, the illusory depth of these paintings infuses the figures with a plausibility, yet the works remain true to the sweeping strokes and amorphous forms that have defined Essenhigh's visual vocabulary.

Even though they are darker in nature, the paintings remain true to his style portraying floating animals and human figures in ethereal backgrounds.

These major works remain an essential part of the New Image movement of the 1980s that heralded a return to subject and imagery in contemporary painting - a movement in which Jennifer Bartlett was a central figure.

Despite this turbid content, it remains fashionable to talk about Baselitz's paintings as abstractions, as though the perverse act of reversing the figure — the works at Michael Werner, from the»70s, include some of the first examples of this practice — were merely a technical matter, and as though his painterly explorations were mere attempts to stretch

The lying figure in Cahn's imagery has often been associated with the war and its disasters; nonetheless the reading of these paintings remains ambiguous.

He remained a local figure, however, known primarily for his printmaking, until Peter Selz, at the time the new curator of painting and sculpture at the Museum of Modern Art, included him in the exhibition «New Figures of Man» in 1959.

Invested in issues of the political, social and the media, Richter has nonetheless remained a single figure in the contemporary field of painting.

Oil paint is the most fantastically malleable substance: once you've figured out how not to turn everything into a sludgy grey, oil paint remains wet long enough for endless changes of mind, and because of the way the pigment is held in the oil, it is beautifully luminescent.

IN AN ERA WHEN COUNTLESS ARTISTS are creating untitled abstract and conceptual work, there is a certain satisfaction in viewing paintings by artists who not only remain fixated on figures, but also relish the art of naming their canvases.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

The idea that portrait painting is a celebratory act has remained persistent since it was reserved for only the richest aristocrats, monarchs or biblical figures.

Despite Whitten's frequent invocation of political figures and events in the titles of his paintings, his work has remained resolutely abstract since the 1970s, when he began radical experiments to relinquish compositional control, eliminating the hand, gesture, and paintbrush itself.

But above all, Claude remained a painter of nature, which was why the great John Constable (1776 - 1837)- one of the leading figures in the English School of Landscape painting - described Claude Lorrain as «the most perfect landscape painter the world ever saw».

One can discern certain items in this painting that are loaded with art historical import such as a palette, a pipe, and a seated figure with a landscape view behind, yet the purpose of the puzzle remains purposely unresolved.

Painted in vivid tones of orange and pink, or a nude that more directly alludes to a human figure, viewers are enticed to imagine what remains concealed.

This period coincided with the emergence of one of China's most important artists, Dong Yuan (c.934 - 962), who became renowned for his figure drawing and landscape paintings, both of which remained paradigms of brush painting until the 19th century.

During these early years (1820s), landscape painting was divided into two schools or styles: the Italianate Neoclassical school of Southern Europe which promoted idealized imaginary views often populated with mythological, or biblical figures; and a more realistic school derived from the Dutch Realist tradition - more popular in England and Northern Europe - which remained faithful to the real nature rather than the idyllic version.

Aspects of surrealism and abjection are paired with his anxious building of topographical textures with acrylic paint; he insists that his figures seemingly remain in state of primordial becoming.

Painting has remained central in his pursuit to construct a deceptively simple visual world where figures often seem to elude the passage of time.

But then again — it's probably not a figure that paints recent decisions on renewables in a good light, so it may remain elusive.