Sentences with phrase «narrative figure paintings»

The New Hampshire - based painter — whose Narrative Figure Paintings is on display at TEJAS Gallery through the month of March — is telling me about -LSB-...]

Peter Clive's Narrative Figure Paintings color TEJAS Gallery By Morgan Laurens Photo: «Lamplight» depicts a solemn world of interiors «I have no use for Jeff Koons, for probably obvious reasons,» Peter Clive tells me.

The most popular genre of painting was landscape painting - usually large - scale - along with flower - and - bird compositions, and narrative figure painting which allowed artists maximum scope to praise the new Ming rulers.

Not exact matches

I'll make a figure painting, a little figure painting, then I'll think, «oh, well that one would look like something possible if I could put it with this other figure painting that I've also done from observation, and then some grouping and / or narrative might emerge in pairing the two».

Selected Group Exhibitions 2016 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2015 — «Wish List», Gallery Project, curated by Gloria Pritschet and Rocco DePietro, Toledo, Ohio and Ann Arbor, Michigan 2015 — «Roots», Linda Warren Projects, Chicago, IL 2015 — Noyes Cultural Arts Center, Evanston, IL 2015 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2014 — «National Contemporary Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New York, NY

Formally, they function as screens between the figure and the viewer or as arms that hold the figure in the painting, but I also think they play a narrative role.

While the setting is casual and the figures relaxed, the paintings are steeped with psychological undertones and narrative intrigue.

His paintings pivot on narrative scenes: vivid menageries depicting well - dressed public figures and anthropomorphic animals in an acerbic critique of political systems and disingenuous agendas.

Since 2000, he has painted narrative scenes filled with figures, often inspired by reproductions from newspapers or history books.

Alessandro Pessoli's (b. 1963) drawings, paintings, and sculptures place expressive, often melancholy figures in indeterminate spaces and dreamlike narratives.

Throughout, the figure articulates many of the fundamental contrasts of contemporary painting — between coherence and fragmentation, narrative and abstraction, or intention and naiveté.

Consider Lynette Yiadom Boakye's classical oil paintings of fictional black figures («suggestions of people,» she's called them), or Toyin Ojih Odutola's intricate, narrative drawings of an imaginary clan of West African aristocrats, unburdened by the legacy of slavery.

Whimsical and dynamic her paintings remind us of the great panoramic history paintings populated by heroic figures and the symbols that accentuate their narrative.

So, as we pass through this collection of around 40 drawings and paintings, we're supposed to look for clues and hints of the later brilliance and construct a narrative or timeline that leads to its blossoming (which, here, comes in the form of At the Edge of Town (1986 - 8), a painting showing a figure emerging onto the kind of semiabstracted landscape for which Doig is best known).

These figures gave Edith an enhanced narrative and she painted them as lovers, warriors, heroes and gods.

As a coda to this narrative, the exhibition includes Pearlstein's most recent paintings, a series of three canvases completed in early 2015: nude female figures are animated with vibrant animal masks as they lounge and recline over Navaho rugs.

She tends to place her subject matter upon the figure and narrative, and employs a unique painting technique by pushing acrylic paint through a thin wire mesh to make rich, fiber - like surfaces.

The artists exhibiting further the conversation of painting in a post-historical era of art where figures and representation is not bound by historical narratives or for that matter the conceptual ideology of contemporary art.

I don't paint figures in order to create narratives, to «tell stories».

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

Derived from a painting of the same title, The Brite Spot involves the viewer in a vague yet intriguing narrative: two female figures are pictured in a bar setting, and while one appears to be dancing, a melancholic mood nevertheless permeates the work.

Just as the figurative paintings of Giorgio Morandi, whom he admires, are not about merely depicting vessels, so Sean Scully's definitive abstract works have narrative structures when they evoke associations of figure and landscape, of window and mirror, or of religious forms and themes such as altar or resurrection.

I liked abstract expressionism and modernism, but in college I figured out that I wanted to do these figurative narrative paintings.

This ironic narrative was emphasised by the presence of two small figure paintings in one corner of the gallery.

Yiadom - Boakye, meanwhile, conjures her enigmatic fictitious figures directly out of her imagination, proposing alternative narratives and pointing to future art histories and usually painting them in a single day.

Her narrative urge and her need to express herself with figurative painting both originate from a strong communicative instinct that translates into drawings and animation, reminiscent of a certain Renaissance tradition that focuses its artistic study on drawing and the human figure.

From Clare Rojas's folk - inspired narrative paintings to Tim Hawkinson's cardboard and urethane foam sculpture Scout (2006 - 2007)-- the artist's absurdly humorist take on the human figure — the works in this exhibition signal a bold, new direction for SJMA's permanent collection.

About lines and strokes, about painting paint strokes, telling a story, using the grid, moving from figure and landscape space, making the work narrative, isolating strokes, thinking about the anatomy of a painting... being able to see the process the painting went through, the ground, pencil lines, paste, gel, paint.

As Jeremy Lewison writes, «Neel fell outside the expected norms of leftist painters for whom works amounted to rather obvious allegories of the social situation... she rejected the post-cubist approach to the figure that Picasso and his followers adopted; and she avoided abstraction as a mode of painting because of its narrative limitations.»

The works that are on display at MAMbo consist of both monumental canvases which provide space for sprawling narratives of compositional complexity and smaller paintings which focus on the study of individual subjects, portraits that push the figures portrayed into the foreground, as if under a microscope.

In his series Figure Compositions, American artist Daniel Catalano's beautiful paintings consist of single and multi-figure compositions which reject any kind of narrative and instead experiment with multiple states of being, across many timeframes.

Ghostly figures, a theatric use of light, teasingly oblique narratives and the type of paint handling ability that can only be won over years of practice all add up to one potent image after another.

Painter, sculptor, poet, and musician Larry Rivers was an established figure in the New York School, recognized for creating large paintings merging abstract and narrative elements, as in Washington Crossing the Delaware (1953), where the general leads his men through a space defined by murky oil washes and broad gestural brushwork.

The Japanese artist Chinatsu Ban creates imaginative narratives using a recurring cast of figures, primarily little girls and elephants, and objects, such as apples and ice cream, in her drawings and large - scale acrylic paintings, which initially suggest the whimsy of children's book illustrations.

Citing a desire to revisit fifteenth - century Italian painting in which figures are situated within highly detailed architectural spaces, Larsen began to create narrative scenes that upset any sense of the illusory perspectives of traditional representation.

Fernández seeks to respond to their interpretations and biases through a conversation about a deeper sense of these varied American cultures, contesting the iconic view of the «American Landscape» painting tradition constructed by Church and his peers that often omitted or erased other narratives and figures.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

His paintings of demon - like figures floating above foreign landscapes juxtapose phantasmagorical scenes within equally vague narratives.

Populated by figures cut and shaped from the patterns, Westmark's paintings create mythical narratives, much like folklore cut from the fabric of human experience.

Incongruous and disparate imagery — a man's tongue probes the mouth of a figure from a painting — create scenes that exist between reality and artifice as O'Reilly stages an often jarring and transgressive alternative to known or simple narratives.

Andy Warhol, in his iconoclastic battle against abstract expressionism, created narrative prints and paintings of Birmingham for his Race Riot series, illustrating police dogs on the attack (figure 15).

Whereas traditional portraiture represented specific characters and narratives, Yiadom - Boakye's paintings present figures drawn form the artist's own imagination and memory outside time and place.

Her loosely - painted figures and animals float amidst compositional narrative details (many referencing death or sinister activities) in landscapes of flat wallpaper - like perspective.

She centers her subject matter upon the figure and narrative, and utilizes an innovative painting technique — pushing acrylic paint through wire mesh — to create rich, fiber - like surfaces.

The absence of a human figure tasks the objects in the paintings with suggesting a narrative arc, imbuing them with a sense of mysterious drama — a door that is slightly ajar, a glass of water left on a bathroom sink, a broom leaning against a wall are the only evidence of the presence of a person, perhaps having moments before walked through the picture frame, or lingering just out of sight.

For Larsen, the «essence» of narrative painting is how the figure inhabits a physical space.

The figures in the paintings become characters who engage in conversation with one another, with an impaired narrative unfolding.

Painting ambiguous narratives, populated by human and animal figures, his artwork allows the viewers participation in creating the final story.

However, Beckwith's conversation with the Yiadom - Boakye reveals how an initial skepticism of painting's power gave way to ultimate confidence in it, such that for a time the artist aimed to abandon any narrative impulse in her work and, consequently, tried to excise any sort of particularizing details — indicators of time, geography, or the social location of her figures — from her paintings.

This exhibition traces a narrative of Schor's work since the early 90s to the present, from Semi-colon in a Flesh Comma (1994) which punctuates the text of the female body, and Undue — a section of War Frieze, her major 1991-1994 200 - running feet long multiple canvas work on militarism and aggression, painted in the aftermath of the first Gulf War but still as timely today — through representations of the nature of artmaking itself — the sign, the trace — to the empty thought balloon when grief has left the artist at a loss for words, to her most recent works schematically figuring the artist as thinker, reader, writer in an uncertain world.