Sentences with phrase «as pictorial language»

Inspired by the contour of a favorite chair from her childhood, in combination with a sand painting she recently found in a garage sale, the sculptures explore positioning in space, and real vs. illusory depth, as well as pictorial language in general.

Not exact matches

As Walter L. Nathan has observed, the art rejected by these three church fathers was not the «entirely new pictorial language» of a mature Christian art but the Christian art of their time, which had «borrowed freely» from the late classical pagan tradition.

Bultmann regards the pictorial language which the New Testament uses about the cross as a mythological expression of the truth that the believer has been delivered from sin.

Inadequate as they are, subject to modification from time to time, needing correction and supplementation, our various human languages (verbal and pictorial, aural or graphic) are both necessary for us and useful to us; they help to make sense of, and they help to give sense to, the richness of experience and the given - ness of the world as we observe and grasp it.

• count to and across 100, forwards and backwards, beginning with 0 or 1, or from any given number • count, read and write numbers to 100 in numerals; count in multiples of 2s, 5s and 10s • given a number, identify 1 more and 1 less • identify and represent numbers using objects and pictorial representations including the number line, and use the language of: equal to, more than, less than (fewer), most, least • read and write numbers from 1 to 20 in numerals and words • read, write and interpret mathematical statements involving addition (+), subtraction -LRB--) and equals (=) signs • represent and use number bonds and related subtraction facts within 20 • add and subtract one - digit and two - digit numbers to 20, including 0 • solve one - step problems that involve addition and subtraction, using concrete objects and pictorial representations, and missing number problems such as 7 =??

9 • solve one - step problems involving multiplication and division, by calculating the answer using concrete objects, pictorial representations and arrays with the support of the teacher • recognise, find and name a half as 1 of 2 equal parts of an object, shape or quantity • recognise, find and name a quarter as 1 of 4 equal parts of an object, shape or quantity • Compare, describe and solve practical problems for: lengths and heights [for example, long / short, longer / shorter, tall / short, double / half]; mass or weight [for example, heavy / light, heavier than, lighter than]; capacity / volume [for example, full / empty, more than, less than, half, half full, quarter]; time [for example, quicker, slower, earlier, later]; • measure and begin to record the following: lengths and height; mass / weight; capacity and volume; time (hours, minutes, seconds) • recognise and know the value of different denominations of coins and notes • sequence events in chronological order using language (for example, before and after, next, first, today, yesterday, tomorrow, morning, afternoon and evening) • describe position direction and movement including whole half quarter and three quarter turns PLUS MANY MORE OBJECTIVES!

Humphrey: I was trying to use pictorial language as content.

This watershed period witnessed a flourishing of breakthrough works — such as the present example — in which the artist unfurled a new pictorial language inspired by the natural world and infused with childhood memories of his Armenian birthplace.

Drawing on Aztec mythology and pictorial codices — as well as colonial histories — his works reframe language through the physical activation of these symbols.

His lyrical and ebullient pictorial language drew from archaic sources, as well as the drawings of children and contemporary art movements such as Cubism and Tachisme.

Later described by art historian Herbert Read as «the most revolutionary event in post-war British art», this experimental period saw Pasmore's work progress towards a new pictorial language and representation of reality.

Ostensibly, Rauschenberg (who once famously erased a drawing de Kooning had given him and presented the result as art) riffs on de Kooning's brushy, splatter - laced pictorial language.

New pictorial languages are created with existing materials, such as reproductions of the early 19th century wallpaper by the French manufacturer Joseph Dufour.

Expressive, gestural fields of colors, juxtaposed within the pictorial space are signature Stamos compositions that seem to speak the same language as another famous abstractionist of the time, Clyfford Still, albeit in a calmer tone.

Bernard Cohen's paintings are recognised for their complex pictorial language, in which densely woven lattices of line, shape, pattern and colour are explored as a way of processing and recording lived experience.

The «protagonists» brought the Italian art scene to an international public with a pictorial language specific to the early 60s, a new painting using the power of color and the iconography of the monochrome as defining visual and conceptual elements.

He belongs to a generation of artists whose pictorial language brings together motifs linked to popular culture and the formal qualities of traditional Japanese art, such as flatness, pattern and lavish ornamentation.

Since the Combines represented a profound shift in pictorial language, they also exposed the deficits in the critical terms of art history, and as such posed a formidable challenge to the discipline's leaders.

In this exhibition organized by the Astrup Fearnley Museum of Modern Art, Oslo, we have decided with the artist to concentrate on his paintings and to explore and present the multiplicity of his pictorial language and narrative structures as they have evolved over the last two decades.

Taking his cues from artists as diverse as Pablo Picasso, Henri Michaux, and Christopher Wool, Feaster seeks to advance the language of abstract painting through the use of an ever - expanding lexicon of material effects, marks, and erasures, entreating the viewer to participate in a disjointed narrative that warps the experience of pictorial space, light and action.

Seamlessly blending contemporary cultural imagery and classical pictorial language, Yuskavage marshals color as a conduit for complex psychological constructs.

Laura Owens undoubtedly takes a special position in the field of young contemporary painting, as her seemingly romantic and naïve pictorial language goes beyond the separation between abstract and figurative art.

Since then, he has been regarded as «a leader in the return to figurative painting» in that period because of how he uniquely merged figuration with a diverse pictorial language.

As the artist himself has said, «You can't invent a painting from scratch; you are working with an entire tradition... The pictorial language of the 20th century, from Kurt Schwitters's collages to Jackson Pollock's drip paintings, makes up a range of possibilities that I utilise in order to create a transhistorical figurative painting — a painting of the image as such, of representation» (A. Ghenie, quoted in «Adrian Ghenie in Conversation with Magda Radu,» Adrian Ghenie: Darwin's Room, exAs the artist himself has said, «You can't invent a painting from scratch; you are working with an entire tradition... The pictorial language of the 20th century, from Kurt Schwitters's collages to Jackson Pollock's drip paintings, makes up a range of possibilities that I utilise in order to create a transhistorical figurative painting — a painting of the image as such, of representation» (A. Ghenie, quoted in «Adrian Ghenie in Conversation with Magda Radu,» Adrian Ghenie: Darwin's Room, exas such, of representation» (A. Ghenie, quoted in «Adrian Ghenie in Conversation with Magda Radu,» Adrian Ghenie: Darwin's Room, exh.

Ms. Ashton was closely involved in the small world of artists who were discovering a new pictorial language in the years after World War II, both as a friend of Philip Guston, Mark Rothko and others and as a reviewer for numerous publications, including Art International, The Art Bulletin and The New York Times.

The cooperation with the printer Don Weinstein, who collaborated with artists such as Annie Leinovitz, Richard Avedon and Helmut Newton, opened Philipp Keel the opportunity of an experimental space where he could work on his own pictorial language.

He develops his pictorial language by assembling and layering found images from diverse sources such as magazines, monster fanzines, art books, and film publicity, and equally from a fund of forms whose origins, even if not directly referential, derive from American Surrealism.

Ergo, each work is a part of a personally rich tapestry; sewn from the threads of a childhood steeped in rural folklore, and profoundly accented with the pictorial strategies from historical sources as varied as European medieval sculpture, gender, mythology, and the language of dreams.

Jean Dubuffet and Larry Poons: Material Topographies will explore the radical experimentation of both artists as they began to utilize unorthodox materials and reject traditional concepts of pictorial space in search of a direct, physical language.

I'm interested in making paintings that speak a sculptural language within a compressed two - dimensional abstracted pictorial space, in other words, I see my work as micro-sculpture that hinge on the brink of the pictorial.

Within the framework of the way 20th - century art has developed, the language of abstraction — as a basis for synthetic ordering — comes closest to the process of musical composition, or the possibility to make a pictorial parallel to the work of let's say symphonic...

Some of them, such as the handling of paint - brusque, clotted, ejaculatory - come straight out of the language of abstract expressionism, and in particular of Willem de Kooning's pictorial lingo, which was the nursery talk of Rauschenberg's artistic childhood - the parental language he both loved and rebelled against.

Reframing Van Gogh's pictorial language, moreover, using it as a trope with his own subject matter, Egan creates a muscular vocabulary with dense, excessive surfaces akin to Anselm Keifer and Leon Kossoff.

American pop artists such as James Rosenquist and Tom Wesselman imitated the scale and pictorial language of advertising billboards.

The images challenge the notion of how to make a line or create a new posture for flattened space or abstract composition, swivelling from geometry to gesture, propelling representation and language into abstraction, exploring pictorial edges and boundaries as well as the constitutive or disruptive role of blank space,.

Maybe the shift from figuration to abstraction is tied up with a mounting mistrust of language as a description of the «real» world and a consequently increased emphasis on spontaneity at the expense of complex and specific pictorial space.

As much as her pictorial repertoire is still in the lineage of the masters she was close to at the time — Kline, De Kooning, Pollock — Gedney generates a language and palette of her owAs much as her pictorial repertoire is still in the lineage of the masters she was close to at the time — Kline, De Kooning, Pollock — Gedney generates a language and palette of her owas her pictorial repertoire is still in the lineage of the masters she was close to at the time — Kline, De Kooning, Pollock — Gedney generates a language and palette of her own.