Sentences with phrase «between cubism»

Beginning and ending in a classical mode, this period encompasses some of the most important steps in his career: his traditional academic training, his early encounters with works by modern and Old Master artists, his creative interaction with pre-classical and tribal art, his invention with Georges Braque of cubism and papier collé, and his postwar alternation between cubism and classicism — the groundwork for all the developments in his later career.

Reminiscent of early forms of abstract modern art — a moment of convergence that did not actually occur in art history between cubism, constructivism and neoplasticism — her paintings emerge through a process of layering and accrual, with the finished work being «a concentrate of the many paintings underneath».

Not exact matches

It also found links between styles and noted key artists, such as Paul Cézanne, who bridged post-impressionism and cubism (arxiv.org/abs/1801.07729).

These «Modernist» landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the expressionist paintings of Wassily Kandinsky starting in 1903, and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque, and others, in the years between 1900 and 1910.

Between 1909 and 1931 Lacasse practiced social realist figuration alongside proto - cubism and Abstraction and this may have counted for him loosing his status as a pioneer of Abstraction.

The tie to cubism is unmistakable, with each work pulsating between seamless cohesion and fracture, using forms familiar from modernist collage.

Moving between and manipulating various styles — primitivism, cubism, expressionism, minimalism — Prata's encyclopedic use of symbols and patterns grows into a language rooted in the history of visual art; however, in borrowing across time and style, Prata's distortion of form — hieroglyphs in symbolic space — proposes a reflection on how representations are read within a contemporary context.

During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris.

Among early modernist non-literary landmarks is the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the Expressionist paintings of Wassily Kandinsky starting in 1903 and culminating with his first abstract painting and the founding of the Expressionist Blue Rider group in Munich in 1911, the rise of fauvism, and the introduction of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque and others between 1900 and 1910.

This edgy painting hints at a bridge between two modes of painting declared by Clement Greenberg to be mutually exclusive — illusionistic cubism and flat, postpainterly abstraction.

Loren Munk is a painter who for quite some time has been engaged in a dialogue between the formal language of synthetic cubism and casual imagery derived from popular culture.

Although the language of synthetic cubism is successfully employed, there is an unusual contrast between the monochromatic egg form, painted in a quasi-modeling manner, and all the brightly colored and silhouetted shapes.