Sentences with phrase «history of painting technique»

Not exact matches

Hailed by the New York Times on its Paris release as «one of the great films in motion picture history,» Raymond Bernard's Wooden Crosses, France's answer to All Quiet on the Western Front, still stuns with its depiction of the travails of one French regiment during World War I. Using a masterful arsenal of film techniques, from haunting matte paintings to jarring documentary - like camerawork in the film's battle sequences, Bernard created a pacifist work of enormous empathy and chilling despair.

On Thursday, June 20, 2018, VoCA Program Committee member Gloria Sutton will speak with artist Sonia Almeida about her recent paintings and book projects which draw on techniques of printmaking and the history of textiles.

Vehabovic earned his Ph.D. in painting at the vaunted Academy of Fine Arts in Zagreb and he has taken the slow road embracing the great painting history of Western Europe where technique and paint application matter.

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

Tim Eitel (b. 1971, Leonburg, Germany) conveys a deep command of color, technique, and form in his figurative paintings inspired by his observations of contemporary life and art history.

Vehabović earned his Ph.D. in painting at the vaunted Academy of Fine Arts in Zagreb and he has taken the slow road embracing the great painting history of Western Europe where technique and paint application matter.

Each work is profoundly permeated with the history of painting and combined with its spectacular technique, suggests an ambiguous kind of postmodern allegory.

The long sequence of imitations, translations, masked quotations, and explicit historical paintings in Robert Lowell's History has carried the same technique into the 1970s.

In her series, De Luca was invoking the tenants of modernist art history and employing her own abstract techniques to the paintings.

His oil paintings employ Western techniques to depict scenes of contemporary life that reference the country's long history.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Chronicling an abstract personal account of his relationships, studio practice, and his sense of history through a spectrum of techniques, New York - based artist Richard Aldrich has in recent years placed himself at the forefront of a new approach to the medium that re-thinks how a painting is made, how it is experienced, and ultimately what it all means.

He employs a variety of painting techniques, perforating the history and trajectory of pictures.

The fascinating world of watercolor landscape paintings offers images which, not only celebrate Nature, its lavish landscapes, beaches, and wildlife but are images which give praise to one of the oldest techniques in art history.

De Kooning's famous black paintings are also important to the history of this loosely defined style of American painting due to their conceptual core, densely impacted forms and mixed media technique.

Collectives like Spiral and AfriCOBRA mined African American history and culture and incorporated contemporary techniques of painting, printmaking, and fashion design to create a unique iconography for this vital political era.

There is a trickery of being enticed into the paintings through the whole nuance of the long history of landscape paintings, and the mastery of his technique, until we are trapped within the content of the work.

His silkscreen paintings served as almost fifty years of autobiography, national history, and travelogue, in a technique that he improvised by dissolving newsprint.

The subject of art history is a constant undercurrent in his work, whether Koons elevates kitsch to the level of classical art, produces photos in the manner of Baroque paintings, or develops public works that borrow techniques and elements of seventeenth - century French garden design.

We had lectures on anatomy in the Mac lecture theatre using skeletons and life models, lectures about colour and pigment, materials, and art history, of course, and tutors who were familiar with traditional drawing and painting materials and technique.

Whilst the drawings anticipate his silkscreen paintings of 1962 — 64, they are also amongst Rauschenberg's most original and playful works and represent a true innovation in the history of drawing technique.

Employing a variety of techniques and painterly vocabularies, Quaytman knowingly explores the complex history of painting.

In his latest works from the Transliteration series, featured in the Dubai show, Rana has applied the same splicing and stitching technique to deconstruct and reconfigure some of the most famous paintings from art history.

These early years in his bottega formed the foundation of her artistic skills, not only in drawing and painting, but also in sculpture, ceramics and other techniques such as engraving, as well as a profound appreciation of art history.

The artist developed a style in her large - scale works that challenges a traditional linear art history; these works were influenced by a wide range of images from different cultures, including techniques from Persian miniature painting, studies on the female body and subjectivities, and science fiction.

Works such as September, Part 2 use a combination of drawing and painting techniques to depict diverse references such as the architecture of the Twin Towers; the cover of a book by Dr Massumeh Farhad — an eminent scholar of Islamic Art; and media imagery of war - torn Syria, outlined in silverpoint, connecting drawing to a history of photography.

In conjunction with the DMA's exhibition Impressionist Paintings from the Reves Collection, join Dr. Anthea Callen, an internationally renowned specialist on the history of artists» materials and techniques, for a lecture on the origins, novelty, and meanings of the impressionist painters» methods.

In a group of paintings by Tong Hongsheng, the artist applies the techniques of Vermeer — universally acclaimed as one of the greatest painters in Western art history — to traditional Tibetan Buddhist subjects, an intriguing twist considering that whole political can of worms.

He has developed both a deep connection to the history of painting and a method of working that combines sensitive drawing with materially expressive painting techniques.

I plan on utilizing a variety of techniques such as rubbings, field recordings / sound experiments, and long term sun exposure «paintings», which will result in a collection of visual and sonic stories inspired by the rich history of the Headlands.

In his geometry - infused, packing - store tape assemblages, Garry Noland addresses the long history of illusionistic painting that employ the trompe l'oeil techniques of Renaissance and Baroque painters.

The ash painting technique he created has added another method of painting to art history, other techniques, such as sculpting in cowhide, door carvings and feather woodcuts have all been pioneered by Zhang Huan.

«By coupling the symbols and phrases most closely associated with the African American story with the abstract expressionist painterly technique in the multi-panel format, Jean - Michel Basquiat created an exceptional masterpiece of history painting.»

When I was interested in mixing colors in the air, I worked in fireworks; when I wanted to explore women's history, I decided to tell women's story using women's techniques, i.e. china painting and needlework; when I became interested in the subject of the Holocaust, I worked with my husband, photographer Donald Woodman, to fuse painting and photography, the photography to root the images in the historic events and painting to express the human story.

Coming up is the museum's first major exhibition of a contemporary Chinese artist, a show featuring three O`ahu - based artists who express the impact of the Chinese Cultural Revolution on their lives, a collaboration with the University of Hawai`i that presents contemporary Japanese artists using traditional techniques, a history - tracing exhibition by Los Angeles — based textile artist Karen Hampton, a look at First Hawaiian Bank's collection, and the debut of a newly restored volcano painting by Charles Furneaux.

Batjargal draws on the techniques of Mongol Zurag painting to address the broader history of Mongolia's development over the past century.

Garth Weiser is best known for his highly graphic paintings that compress the vocabulary of abstraction into dense pastiches of history and technique.

Buchanan's background in the history and techniques of painting and drawing is a strong influence on her visual form, making her video pieces less cinematic and more spatially related to painting.

2 All these painters have been or can be classified as what Donald Kuspit calls the New Old Masters who, though working in Old Master techniques, are «neither traditional nor avant - garde, but a combination of the two,» carrying on the spirituality of the former and the critical consciousness of the latter.3 Both Cooper and Kuspit read in new wave history painting and New Old Master painting, respectively, a return to humanist and modern existentialist themes absent in most mainstream contemporary art.

His technique of close observation developed from processing the first - hand experience of a politically unstable country and his more detached introduction to the history of painting.

«Garden Party» blends four distinct areas of Gray's newest work — re-interpretations of Flemish still lifes, grip tape collages, large abstract «spectrum» paintings, and smaller «snapshots» of vases, horses, and sculptural busts that seem excerpted from his larger works — to cohesively to present a larger picture of his experimentation with traditional subjects in art history through contemporary media and techniques.

Rather, it is revealed dialectically as the artists psychically work through the ugliness and insanity of contemporary life; their psychical mastery and emotional restoration of the self are evidenced in their mastery of technique and the aesthetic transcendence it elicits.8 At the same time, it is important to underscore just how alien both the figuration and content of this new wave of history painting would appear through the humanist gaze of traditional history painters and the Old Masters.

Through experimental paint application techniques and using mixed media such as shells and coins in his art - mak - ing, in his words, Tyson is «temporarily suspending the burden of art history, with its myriad ways of contextual - izing every type of painting move, to let accident and invention come into the process.»

Her signature paint - thinning technique, in which she diluted the oil paint with turpentine, coupled with an entirely revolutionary method of staining (rather than dripping or brushing paint onto) the canvas undoubtedly changed the course of art history and influenced the likes of Kenneth Noland, Morris Louis and Jules Olitski.

The unique materials, techniques and histories are as varied as the number of works — from generative digital video to found street detritus to oil paint.

Piercing Brightness presents new works by British and London - based artist Shezad Dawood, who employs a combinatorial practice of film, light sculpture and painting that forms and reshapes connections through disparate histories, techniques and landscapes.

, Francis Bacon: Figurabile, exhibition catalogue, Museo Correr, Venice 1993, p. 24 David Sylvester, «Bacon's Course», Modern Painters, vol.6, no. 2, summer 1993, pp. 15,16, reproduced p. 14 (colour) Michael Peppiatt, Francis Bacon: Anatomy of an Enigma, London 1996, pp.108 - 110 Fabrice Hergott, «La Chambre de Verre» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 56 David Sylvester, «Un Parcours» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, pp.14 - 16 Hervé Vanel, «L'imagination technique» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 67 Masterpieces of British Art from the Tate Gallery, exhibition catalogue, Metropolitan Museum, Tokyo 1998, pp. 152, 237, reproduced in colour p. 152 Reproduced: Harper's Bazarre, Jan. 1951, p. 52 (colour) John Rothenstein, A Brief History of the Tate Gallery, London 1958, p. 11 John Rothenstein, The Moderns and their World, London 1958, pl.91 (colour) Viewpoint, no. 1, 1962, p. 5 (colour) Ronald Alley, British Painting Since 1945, Tate Gallery, London 1966, p. 12, pl.2 (colour) Aldo Pellegrini, New Tendencies in Art, trans.

academie julien, african - american art, henry ossawa tanner, history painting, james abbott mc neil whistler, painting technique, pennsylvania academy of fine arts, religious art, rembrandt, tempera paint

In virtually an encyclopedia of painting's tools, techniques, and history, Stella's mammoth constructions insist as ever that «what you see is what you get.»