Sentences with phrase «between figure painting»

Art classes will alternate between figure painting, the business of art, guest speakers and gallery visits.

Not exact matches

The continuity between the image of the Bible in the painting and the image of the French novel thus lies in its emphasis on the Christ - figure — even more apparent when one considers the subject of the biblical passage depicted in the painting.

Condon also likes to punctuate scenes with shortcut symbolism by having characters wear t - shirts with various icons or having walls painted with various iconic figures in history (Che Guevara, Albert Einstein) as a way to draw parallels between Assange's story and the fight for information throughout history.

This vision of isolation receives its apotheosis in A Bar at the Folies - Bergère [6], perhaps the most poignant image of alienation ever painted, a deadly serious spoof of Watteau's Gilles in completely modern «naturalist» terms, the anonymous yet concrete figure trapped between the world of tangible things and that of impalpable reflections, existing only as a way station between life and art.

Tuck writes that: «the paintings in this show alternate between the quiet and the chaotic: landscapes that are represented like in comics and topographical maps — on a soft colored ground lines are drawn with paint, the figures are much smaller than life size and feel like quotes from movies... [Richter] draws seamlessly from our common cultures of art, entertainment, violence, music, etc., and plants these things in his paintings.»

Note too, the way the paint has enjoyed itself, riotously mixing between the figures» coats and trousers!

This deliberate, dense layering of paint makes it hard for the viewer to tell what is figure and what is ground, and the constant, jockeying interplay between the two gives Ms. Passlof's work much of its dynamism.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

His painting style creates a detachment between the figure depicted and the living world.

Deprived of the human figure, his aim was to remove any obstacle between the painting and the viewer, using the shimmering color to prepossess the one's visual field.

Sobel moves freely between abstraction and figures, with a chronology that one may never know for sure — sometimes in the same patch of paint.

The finely detailed, hand - painted miniature patterns in gouache add an unusual visual register to the transparent watercolors, layering silhouetted bodies in sinewy vines and other organic shapes, and confusing traditional distinctions between figure and ground.

The actual paint handling is about the experience of viewing Courbet's large paintings in person, his physical handling of paint between nature and the figure, chaotic, thick vs smooth.

Shōhaku transformed more conventional representations of the dragon found in the traditional Japanese mythological figures of the Cloud and Dragon paintings into fantastical images where the mythological being verged between hideous monster and an abstract anamorphic form.

Biggers» Haute Mess (2014) and Cave's Soundsuit (2013) are critically necessary, for their chaotic relation between antique quilt fragments and spray paint — traditional patterns and the human figure — refusing the subject - object dichotomy.

Formally, they function as screens between the figure and the viewer or as arms that hold the figure in the painting, but I also think they play a narrative role.

This led me to Jean - Antoine Watteau's painting of Pierrot, a fool figure who is often mocked yet always trusts his tormentors: by using this composition, I wanted to draw parallels between the treatment of Pierrot and Conjestina Achieng.

The paintings, with richly hued backgrounds, depict androgynous figures and abstracted and historically vague settings to blur the line between abstraction and figuration.

Iconic German artist Lucien Freud is known for his psychologically complex painted portraits and figures that reveal a heightened discomfort between artist and model.

Between 1946 and 1950 he shuttled between Paris and Le Cannet on the Côte d'Azur, and then settled in Paris for almost a decade, painting often in monochrome like Jean Dubuffet, some of the canvases worked edge to edge with figures suggestive of the then recently discovered drawings of the Lascaux cBetween 1946 and 1950 he shuttled between Paris and Le Cannet on the Côte d'Azur, and then settled in Paris for almost a decade, painting often in monochrome like Jean Dubuffet, some of the canvases worked edge to edge with figures suggestive of the then recently discovered drawings of the Lascaux cbetween Paris and Le Cannet on the Côte d'Azur, and then settled in Paris for almost a decade, painting often in monochrome like Jean Dubuffet, some of the canvases worked edge to edge with figures suggestive of the then recently discovered drawings of the Lascaux cavemen.

Influenced in part by images that depict power struggles, including Baroque sculptures (specifically Gianlorenzo Bernini) and Giorgio de Chirico's late «Gladiator» paintings, Yuskavage's «figures» hover or climb upon one another — caught in embraces that appear to shift between tenderness and violence.

(As seen above) Woman V is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three - quarter - length female figure.

In her text on Brice's work in Vitamin P2, Coline Millard notes: «Just as [Brice's] painting hovers between figuration and abstraction, her figures occupy the limbo between the living and the dead.

Kelly's shaped canvases may concern themselves with pictorial issues — say, the relationship between figure and ground — but they do so in a way that denies painting's metaphorical capabilities.

This time the prize was split between Scott for his painting Figure and John Hoyland's Don't Explain 14.2.83.

Similar in spirit to Tomaselli's earlier work which referenced the relationship between the sub-culture of psychedelia and utopianism, these new paintings expand the dialogue into a fictive landscape where figures populate a frenzied, cosmic and other worldly universe.

Sometimes he even turned the model and painting upside down in an effort to avoid conventional results and to disregard the traditional hierarchy between figure and background.

Next to eleven large paintings made between 1998 and 2003, provided by the Mazzoli Gallery in Modena, there will also be a group of ten amazing new paintings portraying figures of great ebullience against backgrounds of poetic landscapes.

Five large paintings, a hundred foot wall drawing and a floor work describe a strange, transformative cycle as a large drowning figure oscillates through phases of birth and death, shifting between the confining solidity of the shore and the murderously infinite possibilities of the sea.

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work.

His vibrant paintings hinge on a tension between figure and ground; flatness and spatiality; edge and interior; geometry and disorder; with influences as varied as Henri Matisse, Edward Hicks, and Henri Rousseau.

Now, Victoria Miro has published a book of the same name, juxtaposing Paul's paintings with texts from the artist and Als; the London exhibition, name inverted to betoken the friendship between the two figures, coincides with the book's release.

Now, the remarkable story of an enduring friendship between two of the defining figures of our time is revealed as the painting is offered -LSB-...]

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.

Throughout, the figure articulates many of the fundamental contrasts of contemporary painting — between coherence and fragmentation, narrative and abstraction, or intention and naiveté.

Then came «Matisse: The Fabric of Dreams,» at the Met in 2005, in which some of the richly patterned fabrics that Matisse used to fill and push forward the negative space between figures and furniture were displayed next to the paintings themselves.

The tension between the two - dimensionality of the paper and the three dimensions of her figures is cleverly wrought, evocative of Schomaker's predominant influences — from classic Japanese and Chinese prints and paintings up to current graphic novels.

The National Gallery, London, 13 June — 8 November 2015 This summer the National Gallery initiates a dialogue between two works of art made almost 700 years apart: the Annunciation (1307) by Sienese painter Duccio and Duccio Variations No. 3 (1999 - 2000), one of seven sculptures made in response to Duccio's painting by Sir Anthony Caro RA, a titanic figure in modern British sculpture.

Seven - figure settlement finalised in Ross Bleckner painting case A resolution has been reached in the long - fought legal dispute between actor Alec Baldwin and New York art dealer Mary Boone over a $ 190,000 painting by Ross Bleckner, which Baldwin claimed he was tricked into buying.

It is delightful to observe how you painted the light falling on the bodies of the figures, the contrast between dark and light and how you combine vibrant colour with grisaille.

Rejecting the formalist influences of modernism, Benglis removes painting from the wall and integrates color into sculpture, capturing sensual experience and creating a visceral tie between the viewer and her biomorphic figures.

The book draws parallels between humanist themes reflected in both Guston's paintings and drawings as well as in the language and prose discerned in five of the 20th century's most prominent literary figures: D.H. Lawrence, W.B. Yeats, Wallace Stevens, Eugenio Montale and T.S. Eliot.

Wiley's larger - than - life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

The interaction between two figures in this still life evokes not only the robust nature of the original artist's depictions, but also the homoerotic undertones of some antique painting and sculpture.

In a fugue of abstraction and representation, depth and surface, micro and macro, the remarkable slippage between gestural waves of paint and fantastically rendered figures, creatures and objects, these epically scaled paintings evolve Cooke's fundamental interest in the theory and practice of painting to a compelling hybrid state of generation and destruction.

Young Swedish artist Sara - Vide Ericson is on show at V1 Gallery, with a series of new paintings and drawings depicting lonely figures within natural habitats at the frontier between the uncanny and the familiar.

The painting looks like an image forced through some kind of flattening or washing - out process; the figures appear lost somewhere between places, neither here nor fully there.

This combination and juxtaposition of materials blurs the usual distinctions between figure and ground, creating a tension between the mass - produced and handcrafted elements that is further heightened by the contrast of the cold, flat stripe of faded metallic paint across the painting's lower edge and the fleshy white of the oil paint.

Effectively staining the canvas with paint, the technique subverted the figure - ground relationship associated with painting by blurring the boundary between form and surface altogether.

Bringing together more than fifty paintings, the exhibition Better than de Kooning will extend over the entire upper floor of the Villa Merkel and retrace the interaction between painterly deformations of the human figure and mass - media images from 1961 to the present.