Sentences with phrase «allegorical landscape»

This allegorical landscape painting is perhaps the most evocative of Poussin's late works, but he did not abandon religious subjects altogether.

A master of the allegorical landscape, Friedrich painted dramatic scenes accentuating both the beauty and the intimidating magnitude of nature.

His April - May 2009 exhibition at Postmasters Gallery presented five projects based on the same concept (one of them a video), and made over the last several years, with the selection of sites alluding to Thomas Cole's series of allegorical landscape paintings (at the New - York Historical Society), «The Course of Empire.»

Each is a quiet contemplative, melancholy landscape - like space, reminiscent of Albert Pinkham Ryder's allegorical landscapes.

In his more recent body of work, titled Flat Screen Nature (2012 — current), Goode uses an industrial hand saw to cut through sheets of painted fiberglass, creating allegorical landscapes of jagged edges and menacing peripheries; the artist's visual vocabulary comes full circle to represent our environment's vulnerable sky, land, and sea.

The bracketed letters in the work's title correspond to the initials of the German Romantic painter Caspar David Friedrich (1774 — 1840), known for his allegorical landscapes and interest in spiritualism, to whom Balka has dedicated the installation.

Not exact matches

The simple love story set on a pastoral landscape becomes a profound allegorical tale of harmony and discontinuity, love and hate, hopes and fears, and good and evil.

Among the paintings are portraits, still lifes, landscapes, and allegorical paintings, while the objects include sculptures, commercial signs, furniture, and household objects.

While Edouard's work in watercolor and oils of landscapes, cityscapes, nudes, still lifes, portraits, and allegorical subjects ranged from Impressionism and Post Impressionism to semi-abstraction, Luvena's portraits and still lifes in oils hewed closer to Realism.

Francis Alÿs: A Story of Deception, a two - part exhibition on view at MoMA PS1 and The Museum of Modern Art, presents a range of work from the mid-1990s to today by the artist Francis Alÿs (Belgian, b. 1959), who uses allegorical methods to explore the cyclical nature of change in modernizing societies, the urban landscape, and patterns of economic progress.

He passionately poured his soul into often autobiographical and allegorical expressions which weave figures and landscapes into a tapestry of color.

Dennis Rudolph is a German artist who creates landscapes, portraits and allegorical scenes in oil paint and graphics.

Modeling her CG animations on the allegorical paintings of Casper David Fredrich, Fu continues her aspirations in the sublime from her painting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous landscape.

But whereas the religious symbolism of for example Caspar David Friedrich's landscapes can be deciphered, Rudolph's secular landscapes remain silent and miss allegorical meaning.

But whereas the religious symbolism of, for example, Caspar David Friedrich's landscapes can be deciphered, Rudolph's secular landscapes not only remain silent, but even empty out their allegorical meaning by their mere serial repetition.

This exhibit features portraits, still lifes, allegorical scenes and landscapes, trade signs, and figure and animal sculptures.

This discussion brings together art dealer and curator Russell Bowman, artist and Roger Brown's brother Greg Brown, art historian Chloé Pelletier, and Roger Brown Study Collection Curator Lisa Stone to address Brown's relationship to place and landscape: art historical, temporal and allegorical.

Pop Surrealist artist Laurie Hogin creates beautiful yet bizarre apocalyptic landscapes and allegorical animal portraits saturated in brilliant color and imbued with elaborate narratives reflecting pop culture and the human experience.

As the West and its landscape have always played an allegorical and even mythical role in America — this concept continues to be a topic of discussion in art today.

Thus while his early landscapes, mostly completed in the 1820s, reflected his genuine appreciation for the beauty and naturalism of the American wilderness, his later paintings, completed during the 1830s and early 1840s (and strongly influenced by JMW Turner), reflected his fear that American materialism would destroy the scenery he loved, and so became more allegorical and unnecessarily melodramatic.

He continued painting landscapes and portraits, but his main focus was allegorical and mythological painting, as exemplified by his Prometheus ceiling (1950) which he completed for Count Seilern in London, and the Thermopylae Triptych (1954) for Hamburg University.

Keeping this in mind upon leaving the Hofmann school, Muller returned to the fiugre, and the allegorical, but managed to keep close all that he had learnded held these ideas In Landscapes I and II, Muller is true to form, using bold blocks of color to create an impressive landscape scene.