Sentences with phrase «architectural landscape painting»

His meticulous architectural landscape painting influenced a number of artists in Italy and elsewhere: his nephew Bernardo Bellotto (1720 - 80) took his style to central Europe - notably Dresden and Warsaw - while his followers and adherents in England included the marine and topographical painter Samuel Scott (1702 - 72) and the landscape and marine artist William Marlowe (1740 - 1813).

Not exact matches

Parts of the statement read, «This exhibition will focus on the Visual arts specifically; the traditional fine arts such as drawing, painting, photography, sculpture; architectural, environmental, and industrial arts such as urban, interior, product, and landscape designs.

Also an avid photographer, she chronicles her visual inspirations as she captures obscure landscapes, architectural details, and other intriguing painting subjects.

Also an avid photographer, she chronicles her visual inspirations as she records obscure landscapes, architectural details, and other intriguing painting subjects.

It is stunning as a modern Chinese landscape painting, with a geometric and flat style similar to architectural paintings of the Song Dynasty (960 — 1279), but, unfortunately, it holds no link with the exhibition's theme of friendship.

Featuring approximately 200 paintings, sculptures, works on paper, photographs, decorative arts, architectural and landscape designs, costumes, and popular culture ephemera — dating from the late 18th century to the present day — VMFA's landmark exhibition expands the chronological and geographic boundaries of the regionally diverse, multicultural revival.

Architectural subjects, including paintings of the weathered barns and buildings on the Stieglitz property that blend the descriptive and the abstract, emerged as a theme, as did a number of panoramic landscape paintings and bold, color ‑ filled abstractions that often visually related to the subjects she was working on at the time.

Here, she brings these paintings full circle to Purchase College, where the grand scale and the flatness of the buildings highlight the architectural legacy of the college, designed by Edward Larrabee Barnes within a rural landscape in the early 1960s and «70s.

While antithetical to traditional landscape painting, the square canvas, with slight compositional variations of placement, scale, color, and architectural imagery, is appropriate to her modernist subject matter.

His quasi-apocalyptic landscapes — finely rendered paintings which border on architectural schematic — travel through time into recent and distant futures, and imagine the inevitable collapse of global infrastructures into ruin.

The subjects of her paintings from the period were often the rocks and bones from the desert floor or the distinct architectural and landscape structures of the area.

Caragh Thuring's painting is a large - scale abstract piece that references architectural components and found objects to create imaginatively surreal landscapes.

His sculptural works in particular attest to a profound interest in landscapes, whether natural or architectural, and their ability to capture light relates them to a genre primarily associated with painting and photography.

What / Why: «Blurring the boundaries between sculpture, installation and painting, Sarah Sze builds intricate landscapes from the ordinary minutiae of everyday life, yet on a grand architectural scale.

The Glass House was the start of Johnson's 50 - year odyssey of architectural experimentation in forms, materials, and ideas, through the addition of other structures - the Brick House / Guest House, Pond Pavilion, Painting Gallery, Sculpture Gallery, Ghost House, Library / Study, and Da Monsta — and the methodical sculpting of the surrounding landscape.

The pre - and post-War architectural landscape was to become an important subject within the artist's photo - painting practice, documented extensively through photographs in his personal compendium «Atlas» and expanded into a lengthy meditation on buildings, infrastructures and townscapes in the Stadtbilder series.

In her first solo show in New York, Litchfield's collaged and painted memory landscape compositions will ramble across the walls of the gallery working directly with the architectural elements of the space itself and calling attention to how we perceive and recall place and time.

The exhibition will include more than 50 drawings, paintings, sculptures, objects, and photographs as well as furniture and architectural and landscaping designs.

Lovely architectural photos from Kira Lynn Harris also verge into abstraction, as do Julie Mehretu and her faded landscape paintings, which can recall Gary Simmons and his memories drawn right on the wall.

«Liminal Squared» by Julie Mehretu at the Marian Goodman Gallery In «Liminal Squared,» Julie Mehretu's latest show at the Marian Goodman Gallery on W 57 Street, she presents a small number of huge, nonrepresentational paintings that blur the lines between landscape, architectural drawing, and pure abstraction.

Diebenkorn's Ocean Park # 124 (1980) is a terrific example from his abstract series of more than 140 paintings that married architectural elements with what could be an aerial view of the landscape near his Santa Monica, Calif., studio.

Drawing from classical painting and architecture, the contemporary urban landscape, and popular culture, Scheibitz deconstructs and recombines signs, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations.

Ryan McGinness's 2005 exhibition installationview translated the media landscape of logos and advertising into an immersive installation, decentering full sensorial focus; and Cameron Martin's elegiac atonal paintings of branches and boulders, representing parts of nature for the whole, translated photographs into paintings through digital imaging, architectural stencils and house - paint sprayers.

Incorporating the dynamic visual vocabulary of maps, urban planning grids, and architectural forms, alternating between historical narratives and fictional landscapes, Julie Mehretu's beautifully layered paintings and drawings combine abstract forms with the familiar, pairing the Roman Coliseum with floor plans from international airports, Le Corbusier's unbuilt megacity with blueprints from Zaha Hadid and Tadao Ando, and dashing it all together with a color field full of abstract geometry.

According to his entry in Benezit, Schuster's paintings «are very structured, built on geometrical forms painted in areas of flat colour which are nevertheless reminiscent of landscapes and architectural views.

Starting with eighteenth - century French architectural painting and passing by Charles Burchfield's starved landscapes, the show placed contemporary works of ecotrauma by Pierre Huyghe, Erin Shirreff, Alexis Rockman, and Mark Dion alongside an indelible video from Fukushima, in which an unknown worker in a hazmat suit points at the camera for long minutes: a speechless, unanswerable indictment.

In the 1980s, she expanded that technique with increasingly larger and less - controlled acrylic paintings that had elements of realism, architectural and landscape images.

«Echoes of Oblivion» is a series of oil paintings influenced by the evolution of the Houston architectural landscape.

Art Deco and Precisionism Art Deco was more of a decorative art and design movement, reflecting the sleek geometric forms of the new consumer age, while Precisionism was a style of architectural painting whose linear precision was used to reflect the industrial landscape of the Machine - Age.

His paintings, graphic rural landscapes with scattered industrial debris and machine parts, are often framed in really massive, almost architectural frames that form part of the artwork.

The content of the work became more important: the architectural works were mainly formal (though I did finally realize that I was motivated to paint them by my childhood summers at the Jersey shore); with the farm landscapes I was thinking of issues of land use and abuse, the growing of food dependent upon petroleum, beauty amid machines and work.

After a few years I abandoned my waiting - list - ready architectural works, stopped doing figure paintings and still life, began spreading my field of vision out from the houses into the landscape.

Since Carnegie's subjects range from the relatively benign, isolated nature painting — along with the brooding architectural structures that often occupy the landscape, such as a gateway into a cemetery — to intimate little studies of excellently formed female asses, this is not an unreasonable question.

His sculptures in particular attest to a profound interest in landscapes, whether natural or architectural, and their ability to capture light relates them to a genre primarily associated with painting and photography.