Sentences with phrase «between figurative painting»

The more obvious link is figuration — in each case aggressive and unapologetic — and one feels immediately upon entering the National Academy Museum that the connection between figurative painting and art world obscurity provides the subtext of this exhibition.

There's a difference between a figurative painting that's illustrative and one that has codes.

Condo started making «drawing - paintings», where you can't distinguish e.g. paint from pastel, or a line made with a paintbrush or a line drawn in from and thus making the two mediums equal: «There's no real difference between figurative painting or abstract painting, «cause it's all painting to begin with... You don't» have to follow any rules as a painter.

Not exact matches

European cave paintings were seen as evidence of a «creative explosion» sometimes attributed to a brain mutation, a theory reinforced by the apparent age discrepancy between figurative art in Europe and other, more recent art elsewhere.

Moving fluidly between figurative and abstract gestures, Mathieu's paintings — which are priced between $ 15,000 and $ 20,000 — are at once personal and political.

Banisadr's exuberant paintings oscillate between the abstract and the figurative.

Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods.

If the «contemporary» scene suffers from a crushing surfeit of concept and reference, which ends in tedium and irrelevance, the contemporary figurative scene suffers from a lack of internal criticism, from a failure to distinguish between what is well painted and what is good art, which ends in mediocrity and kitsch.

Kramer didn't seem interested that Guston had painted figurative murals for a couple of decades before working in abstraction, and he made no connections between the new work and the old.

From early figurative paintings, through collages and video installations, to her radical work in dance and performance, Ms. Schneemann has consistently — insistently — made the personal political, bridging divides between eras and cultures, even species.

In the next decade, dark and ominous forms crowded his painting, forming a visual language somewhere between abstract and figurative.

Sector highlights also include a collage - like hanging of monochrome paintings by Mariela Scafati (b. 1973) at Isla Flotante; a configuration of new works that disrupt the boundary between the domestic and the natural worlds by A.K. Burns (b. 1975) at Callicoon Fine Arts; and figurative paintings by Koichi Enomoto (b. 1977) at Taro Nasu.

There the paint remains, somewhere between the figurative and abstract, or, as the exhibition catalogue aptly puts it, «on the brink of formal composition and its collapse.»

The Last Painting of the Century (1999) and Ultrazoomazipzamapopdeluxa (1998), two large acrylic, oil, and spray paint works, use figurative and abstract elements to represent energy, motion, and the relationship between reality and imagination, freedom and control.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

It focuses on the radical change of direction in the artist's career between 1930 — 1969, 50 key paintings and sculptural reliefs show how Pasmore reinvented himself as one of Britain's foremost exponents of British abstract art, having previously been known as one of its leading figurative artists.

Her deceptively romantic - naive visual language dissolves distinctions between abstract and figurative art, and her paintings exhibit a whimsical engagement with sources as various as Color Field painting, Pattern & Decoration, children's book illustration and textile design.

Her figurative works, which she refers to as «humanoids,» blur the line between painting and sculpture.

The idiosyncratic shape at the centre of Parrot, along with the teeming, organic ground, places it on the edge between figurative and abstract painting.

Ignoring the traditional distinction between naturalistically depicted and abstracted figures, the sensuous color and bold, sinuous contours of these elusive and lyrical paintings play on the tension between figurative references and abstract forms.

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.»

Nor is the distinction between the abstract and figurative exclusive in terms of a concern with painting itself.

Over the course of nearly half a century, Robert and Jane Meyerhoff acquired works by some of the most influential American artists in the postwar era, building a collection that bridges the divide between abstract and figurative painting.

By looking at a selection of thirty figurative paintings and sculptural works created between 1930 and 1945, Michael Rosenfeld Gallery attempts to answer this question in its group exhibition American Identity.

The works incorporate both the language of abstraction, and that of figurative painting to form a relationship between the two; these are amalgams of both painting and video possessing the quality of both forms.

The exhibition — a collaboration between Iziko South African National Gallery (ISANG), the country's premier public museum and host venue for this show, and The New Church Museum, a private collection with a contemporary focus — juxtaposes historical and contemporary works by 27 artists (20 men and seven women) to offer various critical insights about patriarchy and gendered tropes within figurative painting.

Between 1962 and 1968 the painter was experimenting with a realistic, figurative painting style that is quite different from his later abstract and photo - realist paintings.

In these paintings, Mr. Hockney's awkward figurative style fleshes out toward naturalism, impudently balancing between art and illustration.

Somewhere in the exhibition's development, the title «Reinventing Presence» was changed to the snappier Tightrope Walk — which comes from an observation by Francis Bacon about his «tightrope walk between what is called figurative painting and abstraction».

By combining figurative painting with abstract expressionism, he created a style which displayed a well - crafted balance between planes and surfaces which can be seen only in the most prestigious gallery and museum world.

Asked about the difference between abstract and figurative art, she said: «Many people would like to know how to look at abstract painting because they may be used to looking at figurative painting.

Antony Donaldson also moves freely between intangible and figurative models, the featured Hollywood Pix (1967) combines painting with references to 1930s American cinema.

From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright, figurative paintings of Brazilian modernists such as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.

During these years and those that followed, her paintings reflected some major influences, such as Hofmann's color principles and structural relationships between figurative and nonfigurative elements.

Most belong to the generation of painters who followed Abstract Expressionism and navigated between abstraction and representation to reach a new understanding of the use of colour, formalism and figurative painting.

As a founding member of Chicago's famed Hairy Who (a group of figurative painters often subsumed under the banner of the Chicago Imagists whose ranks also include Karl Wirsum and Suellen Rocca among others), Nilsson is hardly unknown, but these 12 «monumentally - scaled» paintings made between 1984 and ’87 represent a selection of her later work that often goes unremarked upon in favor of focusing on her output from the 1960s.

Freeman's style varied between Abstract Expressionism, the Bay Area Figurative Movement, and plein air landscape painting.

Your figurative works in particular hover between drawing and painting.

Cooke's works intend to blur lines between abstraction and figurative painting.

Still's shift from representational painting to abstraction occurred between 1938 and 1942, earlier than his colleagues, who continued to paint in figurative - surrealist styles well into the 1940s.

Schimmel has organized major one - person retrospectives for artists Chris Burden, Willem De Kooning, Takashi Murakami, Laura Owens, Sigmar Polke, Charles Ray, and Robert Rauschenberg, and significant thematic exhibitions such as The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938 - 1948 (1987), The Figurative Fifties: New York Figurative Expressionism (1988), Hand - Painted Pop: American Art in Transition 1955 — 62 (1992), Helter Skelter: LA Art in the 1990s (1992), Out of Actions: Between Performance and the Object, 1949 - 1979 (1999), Ecstasy: In and About Altered States (2006), and Collection: MOCA's First 30 Years (2010).

Indeed, for a number of years Tomaselli has embraced the natural world in radiant, highly decorative paintings that make almost no distinction between the illusory and the real, the figurative and the abstract.

This differentiation between abstract and figurative is an extreme oversimplification; I am interested in a lot of figurative painting but I am placed in a lineage of abstract painting.

Speaking about the divide between abstract and figurative painting, Tillyer comments that «there isn't a need for those labels now, everything fuses together.

Impressed by Old Masters rather than modern art, Stael was an experimental artist who succeeded in evolving a style of painting that bridged the gap between figurative and abstract art.

During this period he was exposed to the figurative painting of the New Leipzig School and found an unexpected convergence between the folk - lore and rituals of his own country of birth and the imaginative traditions of Germany.

His subjects hover between traditional figurative painting and portraiture; only about five percent of his production is true commissioned portraiture.

Gloriously out of synch with the current vogues of figurative painting, Nowinski mines the territory between Édouard Manet and David Park, avoiding the tricky cul - de-sacs of gender, sociology and feminist theory.

Pairing a figurative style with self - generated imagery and formal composition appropriated from her photographic practice, Cedar's paintings combine painterly gestures with articulated surfaces, oblique perspective shifts with flatness — the scenes wavering between depiction, memory, and fantasy.

Through placing these works alongside paintings from the 15th century, Grasso provocatively alludes to literal and figurative connections between the past and present.