Sentences with phrase «as painting genres»

Not exact matches

Besançon first earned his reputation as a historian of Soviet politics and of Russian nationalism (toward both of which he entertains understandably dim views), and he thinks that the Russian nationalists of the nineteenth century, among their other sins, killed the genre of icon «painting when they began to praise the icon's superiority over Western art.

In their Halloween - themed piece, the New York Times paints a picture of Botica & Co. as an old - school apothecary — a completely different genre...

Language: English Genre: Adventure / Drama MPAA rating: R Director: Mel Gibson Actors: Mel Gibson, James Robinson, Brendan Gleeson Plot: Mel Gibson's first official movie as producer paints a tragic, and sometimes beautiful, picture of what sacrifices must be made for freedom.

Marshall's subdued, slightly melancholy, slightly hopeful canvases are often allegories — they rethink various art - historical genres, such as history paintings and self - portraiture, by applying elements of African American culture to them.

Students in the UK also study my work quite frequently and I am bombarded by their questions... SO theoretically I should continue to paint in this genre (which I may do, as I do love this type of art)... but I am torn as I have a new genre — paintings to do with obesity / healthy eating / weight issues etc — which is a relatively new and uncommon topic in fine art, and I am positive has a lot of potential, and is really an issue which greatly interests me... so the question is whether I should then focus all my effort on this?

Marshall has done this «from the ground up,» as Metropolitan Museum curator Ian Alteveer put it, working through historical styles and genres, including Rococo love scenes, large - scale history paintings, and Impressionist plein air fetes.

My intention involves blurring the lines between genres, so that still lifes can read as landscapes, portraits, history painting, etc..

We offer a strong figurative tradition in the Drawing, Painting and Sculpture Studios that can be used as a foundation for students to move on into other artistic avenues, or that can be developed as an end in itself to produce work within a figurative genre.

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

Installed thematically in two rooms on the first floor and four rooms on the second, the show explores five genres that developed as categories when painting was still in its infancy as a respected medium: Still Life, Landscape, Scenes of Everyday Life, Portraiture and History Ppainting was still in its infancy as a respected medium: Still Life, Landscape, Scenes of Everyday Life, Portraiture and History PaintingPainting.

The experience led Chambers to perceptual realism, which was as much a philosophy, rooted in Catholic doctrine and the writing of the French phenomenological philosopher Maurice Merleau - Ponty, as it was a style of painting; and it marked a radical departure from his previous work, which cut a wide swath across a variety of genres.

The Great Depression defined the thirties as American Art entered the dark ages with social realism and genre painting leading the way.

The symbolism traditionally associated with each genre has continued to resonate over the past century and serve as a point of dialogue with contemporary artwork with a range of contemporary mediums including photography, video, installation and painting.

Through painting and sculpture, each artist transforms this typically self - referential genre into one that speaks as loudly as narrative imagery.

Sikander's pioneering practice takes classical Indo - Persian miniature painting as its point of departure and challenges the strict formal tropes of the genre by experimenting with scale and various forms of new media.

An intriguing exception, at Context, was a 10 - gallery showcase of South Korean artists, all individually compelling and working in mediums ranging from textured painting to layered glass, though so similar in their subtle sensibility that they struck me as a collective, or even, a genre.

Painting in the genre of Abstract Expressionism, I feel a strong affinity for artists such as Joan Mitchell and Willem De Kooning, whose work also emphasizes action and emotion over ideas.

He works with a wide range of genres, such as sculpture, installation, painting, performance, and interactive multimedia, and has participated in several international exhibitions, including Shanghai Biennale, Shenzhen Sculpture Biennale, Gwangju Biennale in South Korea, Chinese Contemporary Sculpture Documenta, with exhibitions presented at the National Art Museum of China, China Central Academy of Fine Arts Museum, Shanghai Long Museum, Today Art Museum, Songzhuang Art Center, Museum of the Orient in Portugal, Iberia Center for Contemporary Art, C5 Art, Central Institute of Fine Arts in Beijing, Central Academy of Fine Arts Sculpture Center, Times Art Museum, White Rabbit Gallery in Australia, Centro Cultural Providencia in Chile, and Bonn Museum of Modern Art in Germany, and also solo exhibitions held at Ullens Center for Contemporary Art in Beijing, and Phoenix Art Palace.

Emilio unites the genre of late 19th - century equestrian paintings with animal logos on sportswear made popular by 1980s brand names such as Ralph Lauren, Lacoste, and Le Tigre.

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 paintings.

Examining the paintings on view at the Pollock - Krasner house can help to shed light on this still misunderstood genre while also helping us to recognize Carone's significant accomplishments within the movement as an artist, promulgator and teacher.

Some of Lichenstein's greatest works evolved from imagery drawn from popular culture: advertising images, war - time comics, and pin - up portraits, as well as traditional painting genres such as landscapes, still lifes, and interiors.

The early works, such as Botticelli's Virgin Adoring the Sleeping Christ Child, which has not been exhibited outside of Scotland for more than 150 years, are religious paintings while later works from the Renaissance masters, 17th - century painters, Impressionists, Post-Impressionists, and Cubists include different genres of paintings such as portrait, still life and landscape, and represent the changing treatment of those genres over time.

While portraiture is a traditional, time - honoured genre, this exhibition offers a new perspective by bringing together iconic portrait paintings by artists such as Max Beckmann, Lucian Freud and Frank Auerbach with more unconventional works by artists such as Lara Favaretto and John Bock.

LOCATION: New York City SPECIALTIES: The program is interdisciplinary, but applicants apply to either painting, printmaking, sculpture, photography, or «new genres» TUITION: $ 51,676 TIME TO DEGREE: 2 years NOTABLE FACULTY: Gregory Amenoff, Sanford Biggers, Nicola Lopez, Rirkrit Tiravanija, Kara Walker FAMOUS ALUMNI: Jon Kessler, Korakrit Arunanondchai, Georgia Sagri, Guy Ben - Ner, Lisi Raskin BIGGEST SELLING POINT: As with many of the Ivies, in Columbia's case, self - perpetuating exclusivity plays a major part here: only two percent of applicants to Columbia's MFA in the visual arts are accepted.

They also challenge one to think outside of familiar genres, such as sculpture or painting.

As contemporary artists continue to push the boundaries of painting, photography, sculpture, video, installation art, and other genres, the new galleries will provide the space to showcase, not just the present and past, but the very future of art.

Emerging on the art scene with fellow New York artists such as Robert Rauschenberg and Jasper Johns, Twombly kept to a genre all his own, blurring the line between painting and drawing, and incorporating words, scribbles, and a childlike sensibility that revealed mediation and melancholy.

This Turkish artist specializes in what could be described as reverse Orientalism, subverting the 19th - century category of genre paintings that captured scenes of the Middle East imagined as exotic by Europeans at the time.

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.»

Presented as a cinematic installation recalling the format of painted panoramas, «Halka / Haiti» probes the present - day power of traditional artistic genres to embody, represent, and, ultimately, construct national identities in the 21st century.

This exhibition reveals how the traditional genre of still - life painting was re-invented by 19th - century painters, even as the art world was radically transformed by the advent of modernism.

Although her work results from deep observations of the history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends classical notions of genre and narrative as she invites viewers into a delicious domain of confident brush strokes with a new aesthetic.

But then the landscapes ask you to keep staring as well, because they harken back to the idea of American genre painting, without the clarity of American genre painting.

Since 2004 Muller has also poked fun at identity - definition and categorization in his acrylic star paintings of genre headings as they appear in magazines like The New Yorker, Time Out, and New York Times.

This publication, originally conceived as an ongoing curatorial dialogue, features six exhibitions on abstract painting, focusing on the legacies and contemporary manifestations of the genre.

Still, perhaps defining the works as anomalies is Hecker's acknowledgment that she is adopting painting styles, materials, and genres that have been all but banished from contemporary art.

Landscape and still life paintings soon took over, and spread as legitimate genres throughout Europe.

Known primarily as a painter, she creates works that reflect on historical notions of what constitutes art, ranging from painting genres to «acceptable» art experiences.

Genre paintings, or scenes that take everyday life as their subject matter, flourished in the Dutch Republic in this period.

She was an enthusiastic student of the history of art, frequently quoting historical paintings by artists such as Gustave Courbet and J. M. W. Turner, as in Barometer (1992), or traditional artistic genres, especially landscape painting.

Many art genres are rooted in Callifornia including styles as diverse as Pop, action painting, assemblage, Minimalism, Conceptualism and Hard Edge and its pioneers and main contributors will be featured at the upcoming exhibition.

Like Frankenthaler, she evokes the genre of landscape painting in the loosest sense of the term, as her paintings hover on the periphery of abstraction.

[5] She created works in a variety of media including oils and watercolor as well as genres including expressionist painting, graphic art, sketching, and woodcutting.

Taking this premise as his point of departure, Rondinone creates mixed - media installations that run the gamut of artistic genres and techniques — including landscape drawing, abstract painting, photographic portraiture, realist sculpture, and video — and reflect the belief that

As a postmodern artist, whose paintings revitalized a languishing genre in the era of image saturation, Wool creates provocative canvases whose abstract, self - referential imagery refers back to previous paintings to quote and re-quote past work.

Inspired by work such as Marlene Dumas» «Chlorosis» and the Terracotta Warriors of Xi'an, China, Bassel uses the traditional genre of portraiture in conjunction with the obscurity of a crowd to allow a sense of intimacy to unfold, even within the monumental scale of her painting.

Painting possesses the same ability as any other medium, to inspire and collaborate with other genres and mediums to create new works.

Writing on Owens» navigation between genres as diverse as folk, conceptual, and classical painting, Paul Schimmel said, «Owens has found a language that questions the nature of painting while embracing its multifarious manifestations.»

The artist had never been known as a painter — though I suppose his treatment of the fur coats could be seen, in retrospect, as an unorthodox example of that genre — but this was a painting show unlike any other.