Sentences with phrase «academic paintings in»

Lining the lower levels are academic paintings in the newly introduced technique of western oil painting — portraits, figure studies, landscapes, still lifes.

Not exact matches

Bell's brushstrokes are broad, but I fear (being one of those «liberal clergy») that the picture he paints is all too real, at least as it obtains in the academic world.

Yet most athletic officials, even those who oppose it, regard Prop 42 as a well - intentioned effort to strike a balance between academic integrity and the need to provide an opportunity for the disadvantaged athlete who wants a degree and is willing to work hard to get it — a kid like John Thompson was as a high school senior in Washington, D.C. Thompson says he could not have gone to college under Prop 42, but he's careful not to paint Proposition 42 in racial terms.

This article in the Daily News paints a darker picture of students» academic futures.

«What this simply meant was that at least an amount of GHc3.6 billion would be provided for in the budget to cater for the needs of an estimated 840,000 SHS students due to be in school in the 2016/2017 Academic year.Paragraph 575 of the Budget Statement however paints a completely different picture and tells a tale of total deception.

Both have academic training in astronomy and informal training in art (Levay in photography, DePasquale in painting).

In the scenario he paints, construction costs nibble into the academic budget (oops, there goes the reading specialist), the school leader's attention is diverted, and those additional kids change the school's carefully crafted culture.

Classrooms that are painted with color, lighted with full - spectrum lighting, and devoid of visual noise result in improved academic performance and decreased disruptive, off - task behavior.

Fusing art and academics, students take an art class every semester in one of four studios: Painting and Drawing, Sculpture and Ceramics, Photography and Computer Graphics.

Student engagement measures help paint a picture of whether a school is providing a set of conditions that are conducive to academic success in the short and long term.

«Eisner's unrelenting advocacy of the arts continued during periods in which arts programs were cut in schools, and a chorus of administrators and policymakers, faced with budget constraints, focused on test scores, worried that spending time painting or drawing was not academic enough... One of the casualties of our preoccupation with test scores is the presence — or should I say the absence — of arts in our schools,» he wrote in the Los Angeles Times in 2005.

I was 23 years old, nine months into a year - long fellowship to live and paint, no academic strings attached, in Paris — and to roam from city to city, looking at works of art that I had studied only in books.

Before the 19th century, landscape was so low in the academic hierarchy that many artists painted them only as backdrops to a story or moral tale.

A brief survey of representations of life - drawing sessions reveals: an all male clientele drawing from the female nude in Rembrandt's studio; men working from male nudes in 18th - century representations of academic instruction in The Hague and Vienna; men working from the seated male nude in Bailly's charming painting of the interior of Houdon's studio at the beginning of the 19th century; Mathieu Cochereau's scrupulously veristic Interior of David's Studio, exhibited in the Salon of 1814, reveals a group of young men diligently drawing or painting from a male nude model, whose discarded shoes may be seen before the models» stand.

Despite contemporary and localizing references in The Little Patriots, such as the dome of the Pantheon in the background or the paving - stone barricade to the left, the pall of the academic poncif hangs heavier over the painting than the smoke of revolutionary fervor; one is made all too aware, in the pose of the little patriot in the center — reminiscent of that of Donatello's David, and so appropriate in its iconographic implications — that Jeanron was an art historian as well as an artist.

A brief survey of representations of like - drawing sessions reveals an all male clientele drawing from the female nude in Rembrandt's studio; men working from male nudes in 18th - century representations of academic instruction in The Hague and Vienna; men working from the seated male nude in Boily's charming painting of the interior of Houdon's studio at the beginning of the 19th century; Mathieu Cochereau's scrupulously veristic Interior of David's Studio, exhibited in the Salon of 1814, reveals a group of young men diligently drawing or painting from a male nude model, whose discarded shoes may be seen before the models» stand.

Examples from Rythm Master were featured in light - box displays in «Mastry,» the artist's retrospective (2015 - 2017); the series inspired «Above the Line,» a hand - painted mural installed along the High Line, the elevated park in New York City (2015 - 2016); and was the subject of an academic paper by art historian and curator Ellen Tani, delivered in 2016 at the Black Portraiture [s] III conference in Johannesburg.

When he resumed painting in 1945, Tworkov began experimenting with an academic approach to abstraction through the study of still life and the figure.

Her references could be literary and philosophical, what she said about her work was deep but different than an academic discourse, as much rooted in daily visual experience as in popular culture and in direct transmutation into paint of such experience.

«I'm an academic realist painter, but I'm living in the 21st century, so I'm not going to be painting Roman soldiers invading, or some gothic baroque composition... The highest aspiration of an academic realist painter are these big group figure paintings, and I'm using the hardcore scene as my subject.»

As I wrote to him this morning, so much to say and so little time to say it if I want to get a few paintings done before I have to go back to my day job as an underpaid adjunct (Davis mentions the role of practical bread and butter issues and economic inequities for women as in some sense replacing Linda Nochlin's historical focus on women artists» earlier lack of access to academic training.)

In my persistence to use raw materials historically used in academic painting, to contrast modern paint with pigment — a kind of fanatical review on contemporary painting transpires, setting a stage for the current Miscommunication PaintingIn my persistence to use raw materials historically used in academic painting, to contrast modern paint with pigment — a kind of fanatical review on contemporary painting transpires, setting a stage for the current Miscommunication Paintingin academic painting, to contrast modern paint with pigment — a kind of fanatical review on contemporary painting transpires, setting a stage for the current Miscommunication Paintings.

In 1949, just as the Abstract Expressionist movement was establishing itself as the up - and - coming force in New York, Pepi went to Rome for two years to study at the American Academy and immerse himself in the art historical tradition to which he pointedly related his painting, giving rise to later critical accounts of his work as «academic» at hearIn 1949, just as the Abstract Expressionist movement was establishing itself as the up - and - coming force in New York, Pepi went to Rome for two years to study at the American Academy and immerse himself in the art historical tradition to which he pointedly related his painting, giving rise to later critical accounts of his work as «academic» at hearin New York, Pepi went to Rome for two years to study at the American Academy and immerse himself in the art historical tradition to which he pointedly related his painting, giving rise to later critical accounts of his work as «academic» at hearin the art historical tradition to which he pointedly related his painting, giving rise to later critical accounts of his work as «academic» at heart.

In the selected items on view, the developments of American artistic traditions can be traced through the early interests in portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintingIn the selected items on view, the developments of American artistic traditions can be traced through the early interests in portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintingin portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintingin prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintingin the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintings.

Currently it has something of an academic reputation, and is overshadowed in the contemporary art world by the more trenchant, politically edged photo - painting associated with Gerhard Richter and Luc Tuymans.

It's as if artists, academics, curators, and critics are comfortable in a tractor beam of nostalgia that draws them forever back to some imagined wound in painting, a scab to peel back, and the same problems can forever be solved in similar ways.

Founded in 1906 as a school for modern painting in defiance of the academic tradition, the Art Students League of Los Angeles was a crucial institution in the development of Southern California art.

Also in this series are paintings of Slope Day at Cornell, works that humorously acknowledge the presence of academic and transient people who populate the city.

For the remaining 13 weeks of the academic semester, students work in their studios focusing on their area of choice: Painting or Sculpture.

So I decided to go 180 degrees in the other direction: I enrolled at «Hatahana» master class program in Tel Aviv, a very rigorous two years course of drawing and painting from the model, in a realistic and somewhat academic tradition.

«The Jerome Project,» curated by Naima J. Keith, turned up dozens of men with that name who have been arrested, and paintings render their mug shots in academic realism against gold leaf.

Although formally educated in art and graphic design, he attribute his development as a painter through experimentation and the actual process of painting more than any formal academic studies.

I actually painted myself up until shortly after college and I studied Italian Renaissance painting at a certain point in my academic career.

Ye Linghan, age 27, attended the prestigious China Academy of Art in Hangzhou where he studied traditional mural painting and drawing, his academic training evident in the many works on paper included in the exhibition.

The paintings made in this period were created with the use of photographic images, something that had previously been inconceivable to him and to academic painting, and it marked the pivotal breakthrough.

Hirst presented his installation «A Good Environment for Coloured Monochrome Paintings» (1994) as part of the DAAD (German Academic Exchange Service) scholarship he was awarded in 1994.

Lluís Barba was shortlisted in The Young Masters Art Prize, 2009 and as part of the on - going support of the prize he was invited to exhibit at The Courtauld Institute of Art, Somerset House, WC2 displaying works relating to the history of academic painting and the space of the salon (hosted by East Wing IX.

Prior to the advent of distinctively Canadian modernists like Tom Thomson, members of the Group of Seven, Emily Carr and David Milne in the 20th century, Canadian painting closely followed conventional, academic European models and tastes.

Download one of the following PDFs to see how the Painting minor fits into your chosen major For students who entered Otis College as Foundation students in 2013 - 14 (class of 2017): Painting Minor Academic Plan 13 - 14 For students who entered Otis College as Foundation students in 2014 - 15 (class of 2018): Painting Minor Academic Plan 14 - 15 For students who entered Otis College as Foundation students in 2015 - 16 (class of 2019): Painting Minor Academic Plan 15 - 16 For students who entered Otis College as Foundation students in 2016 - 17 (class of 2020): Painting Minor Academic Plan 16 - 17 For students who entered Otis College as Foundation students in 2017 - 18 (class of 2021): Painting Minor Academic Plan 17 - 18

Through his vocal rejection of academic norms in painting, Henri encouraged Davis and his other students to find new forms and ways to express their art and to draw on their daily lives for inspiration.

The works in exhibition seek to exist between genres of figurative or abstract, highbrow or lowbrow, sentimental and academic, and all the other limiting binaries of interpretation to be both volatile and conservative, soulful and austere, containing elements that appeal to both sides in these paintings, or as the artist puts it, «ambassadors between the two mindsets.»

This professional - level class on Sunday afternoons during the 2018 - 19 academic year is a unique opportunity for young artists interested in developing their observational skills in painting from nature and working with other exceptional young artists.

His ability to transform fervent indignation into comical absurdity is amply evident when he takes on masterworks of French academic painting, as he does in his recent exhibition, Peter Saul: Six Classics, at Mary Boone...

The section explores the relationships between academic flower painting, decorative applications of still life, and the demands of mass production in textiles.

Taking inspiration from the Philippine weaving and the Jewish folk traditions of her ancestors, along with traditional landscape painting techniques from her academic training, she interweaves image with refuse in order to reveal seamless yet textured transcultural contradictions.

In this painting, Kirchner has depicted two nudes in a natural setting, rather than in the contrived space of an academic studiIn this painting, Kirchner has depicted two nudes in a natural setting, rather than in the contrived space of an academic studiin a natural setting, rather than in the contrived space of an academic studiin the contrived space of an academic studio.

The nudes may recall the sober brightness of Roman portraiture or the studied illusion of transience in academic painting.

The portrait survives largely in the wooden paintings commissioned by academic colleges or national portrait galleries from artists who have facility but little flair or psychological understanding or vision.

The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist's development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s.

I grew up seeing representational painting and at the time of the exhibition, I was immersed in «academic» painting while studying art history at Boston University.