Sentences with phrase «almost figurative works»

The paintings that resulted were a major departure from what came before — intense, monochromatic, almost figurative works.

Not exact matches

But that may be about to change thanks to the Royal Academy of Arts (RA) which has launched the first major survey of Diebenkorn's figurative and abstract works in the UK in almost 25 years.

These lectures enthusiastically commend less visually appealing works almost as if they will be good for us, cod - liver oil for the eyes — but twentieth - century figurative painters Alice Neel, Sylvia Sleigh, and Philip Pearlstein simply do not paint as beautifully as Courbet or Renoir.

With almost 40 works, this exhibition proposes a complete view of the artist's aesthetic development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest abstract paintings of the 90's after going through the abstract expressionist stage that became so relevant in the United States during the 40s and 50s.

«Philip drew continuously almost from the moment he saw the Herriman strips as a child but he was pretty cut off in the late Sixties when Crumb's work appeared,» insists his dealer and long - time friend David McKee, «By then, Guston was locked away in his breeze block studio in Woodstock doing these minimal drawings of the things around him - clocks, shoes, books - that were both figurative and abstract.

The first room was dedicated to focusing the viewer's attention on the underlying spatial — almost geometric — structure of Doig's large, richly atmospheric, figurative works.

Hueller's work, while almost abstract, plays with three - dimensionality, figurative elements and shapes and forms derived from such diverse influences as surrealism and die Brücke.

From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright, figurative paintings of Brazilian modernists such as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.

In his catalog essay for a 1975 Smith retrospective at the San Francisco Museum of Modern Art, the late critic Allan Temko wrote that, «Whatever else his protean art may be — and amongst other things, in both his figurative and nonfigurative work, it has been a wildly expressive, almost violent art of tremendous intuitive power — it has always been, first and foremost, a celebration of rational intellect.»

Her early work — large acrylic, figurative paintings — came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

Reframing our perspective on the artist's creative output, the grand special exhibition at the Kunstmuseum Basel focuses on the figurative aspect of his work in order to pioneer a new perspective on his oeuvre, which spans almost three decades.

In Paris, which since the 19th century had been the epi - centre of the global art scene, aside from the surrealists and a few notable exceptions, such as Balthus and André Derain, the work of figurative artists disappeared almost entirely from view.

Including almost 100 works, the exhibit will also focus on his nudes, provocative pieces of art that also reveal the compositions that modernized figurative painting.

Whereas for many abstract artists geometry suggests rationality, with Key I almost want to say that her geometry denotes the opposite, though I realise that this is entirely interpretive on my part and it could simply be that I am inventing a link between her abstract work (she would say «for want of a better term»), and some of her more figurative paintings, (and again one could say «for want of a better term»).

I would have appreciated more of her terrified, tentative retreats from and flirtations with abstraction and nature in the twenties, thirties, and forties; her kind - of - like nature / kind - of - figurative hedged bets of the fifties; the oddball flat sixties abstractions; the almost - dissipated seventies works.

In works such as Almost a Bride (2015), the figurative element is grouped with a variety of abstract marks of pure gesture; one gets the sense of an artist who eschews the vocabulary of pre-existing forms, instead putting a premium on visceral connection.