Sentences with phrase «black figure painting»

Not exact matches

They wear the familiar pleated skirts, painted black, of the finest Maltese cult figures.

He wore a black leather coat and an orange - and - red T - shirt covered in stretched - out figures from a Stone Age cave painting.

It has to be the silhouette — a figure in black against a dramatic canvas, almost always perfectly composed like a painting.

Readers will recognize many of the paintings and locations that figure in the story and the book has black and white illustrations to help.

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«It is my conviction that the most instrumental, insurgent painting for this moment must be of figures, and those figures must be black, unapologetically so.»

«For me,» he said in his MCA Chicago lecture, «the thing that has the greatest transformative capacity in the art world today, in terms of what people expect to see when they go to the art museum, is a painting that has a black figure in it, because 95 percent of all the other paintings you see are going to have white figures in them.

For the past quarter century, primarily with his paintings but also, as a recent exhibition title put it, «other stuff,» like photographs, videos, sculptures, and installations, he has been getting black figures onto museum walls.

In his paintings, the figures are an extreme, coal black.

The Mete of the Muse (2006) juxtaposes differing representations of race in two bronzes: one a black patinated Egyptian figure and the other a white painted classical European nude.

Barré created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

For more than 40 years, the Chicago - based artist has made it his mission to paint black figures into the canon.

Marshall has long said that he paints unapologetically black figures using black paint in order to push the Western canon of art history in a more diverse and representational direction.

The juxtaposition of Gendel's Matisse - like figures, Sall's abstract painting anchored by a large black oval, and Gomez's swooshes was particularly compelling, just on sheer painting skill alone.

A VISIONARY AND IMAGINATIVE PAINTER, Marshall is recognized for his thought - provoking explorations of American history and representations of the African American experience, using black paint for his black figures.

By the late 1950s, when Kinley painted Red, White and Black and other pared down palette - knifed abstractions of landscape with subliminal suggestions of the human figure, the Vienna - born, St. Martin's - trained painter had already enjoyed two solo exhibitions at Gimpel Fils, London.

bronze with black patina and bronze with white paint, African figure: 65 x 26 x 14» (165.1 x 66 x 35.6 cm); European figure: 61 x 18 x 20» (154.9 x 45.7 x 50.8 cm).

DALeast paints animal figures in his signature style using a swirling vortex of organic black lines with white highlights.

The exhibition opens with Himid's monumental Freedom and Change, 1984, which appropriates and transforms the female figures from Picasso's Two Women Running on the Beach (The Race), 1922, into black women, powerfully and humorously subverting one of the most canonical paintings in Western art history.

A 2015 Kerry James Marshall painting of a vigilant - looking black policeman seated on the hood of a white squad car looks like a taken - from - life - figure, and one radiating mixed messages of aggression and protection.

In Look Back at It (2016), all of the figures from Picasso's painting are replicated, but in collages made up of black bodies, fireballs, and bling.

In his most recent body of work, Santiago reimagines the history and story of the Black Knight that figured in several Renaissance paintings and literary accounts, such as the one depicted in the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknown).

The British - born artist paints mysterious figures, a diverse cast of Black subjects plucked from her imagination.

AT THE WHITNEY BIENNIAL, there are two more paintings by Taylor on view depicting a black male figure in a white t - shirt.

One of three paintings in the show (Atmospheric Drag on Satellite, 1965), for example, is dominated by a pair of life - size stenciled figures floating against a dappled gray and black background.

Kerry James Marshall's major monographic retrospective presents a broad range of pictorial traditions to counter stereotypical representations of black people in society and reassert the black figure within the canon of Western painting.

2017 Inventing Downtown: Artist - Run Galleries in New York City, 1952 - 1965, Grey Art Gallery, New York University, New York, NY; New York University, Abu Dhabi Art Gallery, United Arab Emirates Picturing Mississippi: Land of Plenty, Pain and Promise, Mississippi Museum of Art, Jackson, MS Soul of a Nation: Art in the Age of Black Power, Tate Modern, London, England Sputterances, Metro Pictures, New York, NY Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection, Georgia Museum of Art, Athens, GA Regarding the Figure, The Studio Museum in Harlem, New York, NY Visionary Painting: Curated by Alex Katz, Colby College Museum of Art, Waterville, ME Color People, Rental Gallery, East Hampton, NY Victors for Art: Michigan's Alumni Collectors, University of Michigan Museum of Art, Ann Arbor, MI Figuratively Speaking, Michael Rosenfeld Gallery LLC, New York, NY

Themes of race and violence figure in art throughout this Biennial, including a painting by the black artist Henry Taylor, «The Times Thay Ai nt a Changing Fast Enough!»

Throughout his career, Marshall has consistently sought to correct the under - representation of people of colour in Western culture by creating his own depictions of black figures (both historical and fictional) using the art - historical genres of history painting, portraiture and landscape.

The subjects in the Black Paintings and their related works - on - paper are lovers, mothers and children, and amorphous, looming creatures — figures allusive of existential oppositions and emotional turmoil.

First shown in a solo exhibition at Metro Pictures, New York, in 1986, this work was one of four figurative paintings that featured iconic political figures and groups from the late 1960s and early 1970s, including Angela Davis, the Black Panther leader Kathleen Cleaver, and the experimental troupe the Living Theatre.

While Whitten will be remembered as a giant of American painting and a singular figure in the creative history of black diaspora, he kept his eye fixed on the deeper currents that connect people across broad cultural divides and vast historical distances.

We placed Philip Guston's important 1977 oil painting Black Coast and a very important drawing from Guston's coveted series of sleeping figures, done in the 1970s.

However, in the wake of the Watts riots, and the general breakdown of urban life in the United States in the late 1960s and early 1970s, Marshall focused on «an examination of the historical absence, or «invisibility» of the black figure in the tradition of painting.»

Rothko, a contemporary of Jackson Pollock and a major figure in abstract expressionism (though he personally loathed the term), produced 40 large format paintings in shades of dark red, brown and black for the Seagram commission.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redFigure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redfigure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

In a 2010 photograph entitled Le déjeuner sur l'herbe: Le Trois Femme Noires (2010), Thomas re-stages Édouard Manet's famous image, substituting his painted figures for provocatively dressed black women.

Reinterpreting the Otto Dix image using recent polaroids of himself and Elke nude, sitting in a similar position as Dix's parents, the artist painted the figures using predominantly black and white palette and addressed the powerful themes of his celebrated «Avignon» canvases exhibited at the 2015 Venice Biennale.

Romantic, nightmarish, and mythic, the Black Paintings» emphasis on the female figure as protagonist and the overriding emotions of pain and dissonance prefigure Spero's preoccupations for the next 40 years.

In 2000 Doig collaborated on a series of small paintings with the artist Chris Ofili that showed two figures: a black man with an enormous Afro and a white man dressed in a Napoleon hat and uniform.

«For people like me, struggle has been part of our culture, and within that I've been looking at the ways black people keep moving and thriving,» says the Brooklyn artist, whose ongoing series of «Floater» paintings features black figures reclining blissfully in pools.

Painting walls, floor and most of seven sculptural tableaux a medium gray, Pictures Generation artist Barbara Bloom transforms David Lewis into a monochrome stage set, echoing the vintage black - and - white photographs of actors and literary figures that constitute the starting point for each of her works.

The figures in her paintings are mostly black men and women, isolated against dark backgrounds.

The series begins with a portrayal of a young androgynous girl which formally pays homage to Manet's strong black outlining of figures, drawing attention both to the surface of the picture plane and the paint.

The large paintings, a continuation of the artist's latest «Wrestler» series, feature muscular male figures in acrobatic stances against bright backdrops dotted with a curious dog here or an ominous swarm of black birds there.

The exception to the series is the last painting, a portrayal of intellectual and activist Susan Sontag as a young woman alongside a heavily blacked - out male figure, again symbolic of the contributions to contemporary culture made by a woman in a predominantly male - orientated world.

Consider Lynette Yiadom Boakye's classical oil paintings of fictional black figures («suggestions of people,» she's called them), or Toyin Ojih Odutola's intricate, narrative drawings of an imaginary clan of West African aristocrats, unburdened by the legacy of slavery.

He created the animated, crudely drawn stick figures of this postwar apartment complex by scratching through black paint to reveal hidden, delicate colors beneath.

Prudence Heward exhibited frequently during her lifetime and she often received positive reviews — although some of her figure paintings, such as The Bather (1930)(Art Gallery of Windsor) and the Agnes Etherington Art Centre's Hester (1937)(one of her paintings depicting a naked black woman), provoked hostile reactions in the press.