Sentences with phrase «began exploring painting»

Darrell began exploring painting in high school and was creative throughout his childhood, today he creates gracefully formed abstracts that are boldly colored and hang in an uncanny, perfect balance.

Dr. Lakra joined the Taller de los Viernes from 1988 to 1991, where he began exploring painting, drawing and collage.

In 1945, he began exploring painting and by 1947 was enrolled in Hans Hofmann's school of painting in New York and Provincetown.

Not exact matches

Poindexter begins: «Allison Miller's oeuvre is firmly and unequivocally rooted in the painting tradition, and yet is built upon a conviction, evident in her output over the past decade or so, to explore every inch of the possibilities, conditions and inherited clichés of painting.

In her latest series of paintings, Dublin - based artist Jane Rainey explores this threshold, imagining a place in - between where the horizon ends and the sky begins.

In this lightbox, the Red Paintings (1953 — 54) explore the combination of paint, collage, and found objects that anticipate the three - dimensionality of Rauschenberg's celebrated Combines begun shortly thereafter.

Beginning with his early text and photo - text paintings from the 1960s, he has explored these dichotomies through hybrid compositions of photography, text and painted images.

For three decades she concentrated primarily on photography and video, but in recent years began exploring drawing and painting again, inspired by vintage images of black representation in Ebony and Jet magazines.

Most recently, Owens has begun exploring how different techniques and materials are related within a single painting.

She began writing, oil painting and taking photos, and most recently, she's started exploring mixed media, using acrylic, collage, and found objects.

Vista was one of the first paintings in which Smith began to explore the relation between two and three dimensions, painting and sculpture, illusion and reality.

Under their influence, Kline began to move away from the figuration, exploring the new abstract gestural technique on the large scale paintings.

«Duchamp's famous «underground» pronouncement struck a chord with Chimes, whose interest in the writings of Antonin Artaud and Alfred Jarry had encouraged him to explore the margins of mainstream art and literature... As a consequence of this withdrawal from the contemporary art scene, Chimes began to investigate issues such as esotericism and mystification in metal boxes and paintings whose irrational and often willfully obscure imagery reveals his affinities with Surrealism.

Yet, as he explored these areas, he began to realize the transient nature of their existence; the demolition / painting over of works; the destructive rays of the sun; and even the continuous movement of these abstractions by the trains they sometimes were attached to.

Beginning with figurative paintings in the 1960s and»70s, she moved on to bold, color drenched, landscapes and eventually abstractions that explore color spectrums.

2016 Nov. 18 — Wadsworth Atheneum Presents 43rd Annual Festival of Trees & Traditions Nov. 1 — John Trumbull Paintings Central to «Visualizing American Independence» at Wadsworth Atheneum Oct. 5 — First U.S. Exhibition by Artist Dulce Chacón Explores Human Feats and Failures in the Frontiers of Air and Space Sept. 23 — Grant S. Smith to Lead Development, Revitalize Fundraising Initiatives at Wadsworth Atheneum Sept. 9 — First Major Photography Survey in 27 Years to Open at Wadsworth Atheneum Museum of Art Aug. 16 — Francisco de Zurbarán's «Saint Serapion» Returns to Galleries at Wadsworth Atheneum May 23 — Exhibition to Highlight Diversity of Contemporary Artists, Artworks May 10 — Works by Salomon van Ruysdael and Kehinde Wiley Among Newest Acquisitions by Wadsworth Atheneum April 21 — «Vanessa German / MATRIX 174» to Confront Social Issues of Race and Violence Beginning June 9 March 25 — Wadsworth Atheneum Museum of Art Names Anne Butler Rice New Director of Education

From the beginning of his career, Oehlen set himself the task of exploring the language, structures, and experiences of painting.

Having abandoned painting for over two decades, Mack resurrected his practice in 1991 and began his Chromatische Konstellation (Chromatic Constellation) series of large - scale paintings and works on paper that explore colour, tonal scale, light, rhythm and abstract patterning, which he continues to this day.

While he worked throughout his life in drawing, painting, and graphics, he began exploring new technologies in the»60s, creating electronic sculptures in which photoelectric cells activated sound and light with the movements of spectators.

Although not cited by Karmel, it is important to note that Kazimir Malevich and Naum Gabo also began exploring the corner around this period with Malevich hanging his painting «Black Square,» 1915 across a top corner space in the seminal 1915 - 16 exhibition «The Last Futurist Exhibition: 0, 10» in St. Petersburg, Russia.

In 1962, Markus Lüpertz began to paint his «dithyrambic» paintings, serial works in which he explored both mundane and politically charged subjects using modernist, abstract expressionist, and pop styles.

In the 1950s he began producing large numbers of stabiles — large - scale constructions made from cut and painted metal sheets — and simultaneously explored new forms such as Towers (wall - based wire constructions with moving elements) and Gongs (sound - producing metal pieces).

A selection of a new series of paintings, The DNA Series, is a return to the black acrylic squares Corse began exploring in the early 1970s.

I chased realism until it began to unravel and deconstruct itself,» the award winning artist states, «I am exploring the possibility and potential where representational painting and abstraction meet — if both can coexist in the same moment.»

A striking example of the artist's photo - realistic body of work that he began in 2005, Untitled brilliantly attests to Stingel's three - decade long pursuit of pushing the physical and conceptual limits of painting to explore the passage of time.

A beginning course in painting that explores the relationships between the pictorial elements of painting and discovers the technical advantages of the acrylic medium.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

Travelling through the past 50 years of art history and 50 years of Ligon history, you begin to witness how the artist has responded and «found» a voice to explore different trends, from his early interest in abstract painting to his discovery of conceptual art and film.

However, in the late 1960s and early 1970s Lostutter produced a number of small watercolors and drawings of female subjects where he began to explore many of the elements seen in his later paintings.

This series of «glass» paintings, a theme which the artist began exploring a decade ago, is inspired by themes of domesticity and voyeurism.

The heavy materiality of Mountains of the Moon had enabled a diaphanous chromatic lightness, but around this time he began to explore much subtler interfusions of hue in paintings like Snow Morning (1959) and Golden Day (1960), which seem to anticipate color - field paintings such as Jules Olitski's works of the mid -»60s.11

His art developed in the London art scene beginning in the 1960s, when a dynamic generation of young artists took painting into a new direction by exploring impulses from both the figurative tradition and popular culture.

Beginning with their earliest work together, the book takes readers through examples from among their early paintings, drawings, sculptures, and video installations with the aim of exploring the sort of synthesis that drives Eva and Adele's undeniably unique body of artistic work.

Determined to explore Frankenthaler's innovations, Louis and Noland returned to Washington and, along with other members of their circle, began experimenting with this stain - painting technique.

This lecture begins by exploring the roots of northern Romantic landscape painting (as outlined by Robert Rosenblum in Modern painting and the Northern Romantic Tradition) and its influence on later modernist abstract painting.

According to Pan, her paintings begin with openness — a space to explore conceptual ideas of memory, experience and emotion.

Through the 1960s, Kuwayama both refined his painting practice and began to explore three - dimensionality, creating painted wood - and - paper floor pieces and incorporating industrial materials into his work to make work that was free from any trace of the artist's hand.

The same year he began exploring the idea of monochromatic canvases — a series of acrylic drawings consisting of white and off - white squares arranged into groups of three to five panels — but tabled the idea a year later to focus his attention on paintings organized around a nine square grid structure.

In 1986, Katz began painting a series of night pictures — a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light.

She originally began painting a «sweetest poison» series portraying the underworld of absinthe drinkers but then swiveled to explore a more universally experienced venom — when those closest to us choose to betray and inflict pain instead.

During this time, she undertook an exchange residency at ANU School of Art, Canberra, Australia, where she began to explore the boundaries of painting.

Continuing where Pace Gallery's 2011 exhibition Elizabeth Murray: Painting in the «70s left off, Elizabeth Murray: Painting in the «80s explores another critical decade in the artist's career, the decade during which Murray began painting her iconic shaped cPainting in the «70s left off, Elizabeth Murray: Painting in the «80s explores another critical decade in the artist's career, the decade during which Murray began painting her iconic shaped cPainting in the «80s explores another critical decade in the artist's career, the decade during which Murray began painting her iconic shaped cpainting her iconic shaped canvases.

«This painting, which Marcel Duchamp identified as a self - portrait, was probably begun during December of 1911 in Neuilly, while he was exploring ideas for the controversial Nude Descending a Staircase, No. 2 of 1912 (Collection Philadelphia Museum of Art).

In 1998, Sherpa immigrated to California, where he taught traditional thangka painting at various Buddhist Centers until he began to explore his own style, reimagining tantric motifs, symbols, colors and gestures placed in resolutely contemporary compositions.

His approach to exploring psychological concepts is highly abstracted and every painting begins with metaphors relating to architecture — rooms, staircases, hallways: «These spaces are stretched and contorted, almost to the point of becoming paradox illusions, to twist spaces that should be readily familiar into places that are fragmented and uncertain.»

After graduating with a degree in visual art from Indiana Wesleyan University in 2003, Furman began to explore how she could use paint to express her love of the natural world.

The National Gallery's commitment to exploring the American painting tradition began in 2009 with the launch of its ongoing collaboration with the Terra Foundation for American Art.

SCARAB CLUB LOUNGE GALLERY February 17 - April 2, 2016 Reception: Friday, February 19, 5 - 8 pm Exploring the Michigan Narrative: A painting begins in delight and ends in awakening, then wisdom Beauty is not loveliness, but it is in what exists.

Beginning with a display of historic paintings and works on paper drawn from the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the future.

In the mid-1970s, Moses began employing the use of diagonal grids in his paintings as a vehicle to further explore spatial depth and pattern.