Sentences with phrase «almost cubist»

«2nd January 2011» looks from a distance like one of Hockney's Eighties coloured pencil drawings, but as you get closer the image breaks down in an almost Cubist fashion.

They perform in highly theatrical, Oriental settings of almost cubist space and acid greens, yellows, and reds.

This is balanced by «almost cubist» styling out back, and the «dynamic shield» grille.

The dynamic and characteristic rear design is distinguished by the almost cubist styling created around the high - mounted, stretched rear lamps and by how it horizontally divides the forward - rake rear window into two.

Not exact matches

As games have become more refined, detailed and precise, we can almost infinitely clamber around ancient cities as in the Assassin's Creed series, tear through gorgeous jungle in Far Cry, terraform and build upon cubist landscapes in Minecraft, and pull a horde of friends together for adventuring to your heart's content in any MMORPG you care to mention.

In Smithson's view, Cézanne's painting had been distorted by the Cubists, reduced to an almost abstract play of forms.

She was almost old enough to have been a Cubist herself, but also old enough to have broken out of its compartments.

Given Müller's investment in content (which, it should be stated out front, never overwhelms the paintings» interlocking Cubist framework but rather engages it in a kind of communion), it is impossible to look at this exhibition of late paintings — almost all of them completed in the two years before the artist's death — without meditating on the extra 24 years of life (in Christopher Marlowe's version) that Faust received in exchange for his soul.

Lately, my style has become a bit more angular, almost «cubist».»

This almost narrative - like exhibition plan can be seen as one that moves from the beginning cubist abstraction into a gallery surveying sensitive, almost impressionist abstract works by the artists like Georgia O'Keeffe.

It may seem almost absurd to even suggest that the influence of the works of the so - called French, German, and Italian «Post Impressionists,» «Futurists,» «Cubists,» and other «ists,» as exemplified by representative examples at the Armory show, can have any immediate, or even near future effect, upon the generally strong, good and, from the conventional art viewpoint, sane, American painting and sculpture of today, but there is no doubt that the study of these new groupings, called «movements» in painting and sculpture, which have so emphasized and influenced the art of Europe today, for the past 5 years, and even the derision which they have excited, and will continue to excite, has had and will have a stimulating effect.

While drawing on the achievements of Giotto, Cézanne, the metaphysical painters and the Cubists, Morandi's work finally resembles no one else's and quietly defies paraphrase: everything is enigmatically clarified in the work itself, in all its apparent simplicity, on terms entirely specific to the artist's compositional gifts, in which respect he might almost be the Erik Satie of painting.

During the early 1940s, he deviated from his earlier allegiance to Picasso and a synthetic cubist style and began to produce historicizing portraits, almost exclusively of women, that looked back to Raphael and Ingres.

Almost two dozen years after «Picasso and Braque: Pioneering Cubism» wowed visitors at New York's Museum of Modern Art, the Kimbell Art Museum in Fort Worth, Texas, and California's Santa Barbara Museum of Art have come together to mount «Picasso and Braque: The Cubist Experiment, 1910 — 1912.»