Sentences with phrase «bullfight paintings»

New York: Biala's new paintings open at Stable Gallery (October 15 - November 2) featuring the artist's bullfight paintings.

A couple of weeks ago, I blogged about a huge, framed, UGLY, bullfighting painting that I bought and turned into a chalkboard — I couldn't believe the difference!

Not exact matches

I left the ring after Tomás had finished with his two bulls, both entirely revolted by bullfighting and completely convinced that in that half hour I had learned as much about Spain as if I had spent a lifetime examining the paintings in the Prado.

EUROPEAN and AMERICAN paintings framed by Gill & Lagodich include (in alphabetical order): Milton Avery, Conversation in Studio, 1943; Jules Adolphe Breton, The Song of the Lark, 1884; Elbridge Ayer Burbank, six Native American portraits, Kah - Kap - Tee / Moqui, Wick - Ah - Te - Wah / Moqui, Ko - Pe - Ley / Moqui, Pah - Puh / Moqui, Shu - Pe - La / Moqui, Ho - Mo - Vi / Moqui, 1898; Gustave Caillebotte, Paris Street; Rainy Day, 1877; William Merritt Chase, North River Shad, c. 1910; Thomas Cole, New England Scenery, 1839; Jasper Cropsey, Blasted Tree, c. 1850; Gustave Courbet, Reverie (Portrait of Gabrielle Borreau), 1862; Thomas Doughty, Coming Squall (Nahant Beach with a Summer Shower), 1835; Thomas Eakins, Study for «William Rush Carving His Allegorical Statue of the Schuylkill River», c. 1876 - 77; DeScott Evans, The Irish Question, 1880s, Marsden Hartley, The Last of New England — The Beginning of New Mexico, 1918/19; George Hitchcock, Flower Girl in Holland, c. 1887; Winslow Homer, Peach Blossoms, c. 1878; Edward Hopper, Nighthawks, 1942; George Inness, Crossing The Ford, 1848; George Inness, Summer in the Catskills, 1867, George Inness, The Mill Pond, 1889, George Inness, Early Morning, Tarpon Springs, 1892; George Inness, The Home of the Heron, 1893; George Inness, After A Summer Shower, 1894, Joshua Johnson, Mrs. Andrew Bedford Bankson and Son, Gunning Bedford Bankson, 1803/05; Otis Kaye, Heart of the Matter, 1963; Fernand Leger, Reclining Woman, 1922; Fernand Leger, Still Life, 1926; Edouard Manet, Still - Life with Carp, 1864; Edouard Manet, Bullfight, 1865/66; Julius Gari Melchers, Mother and Child, c. 1906; Jean - Francois Millet, In the Auvergne, 1866/69; Jean - Francois Millet, Bringing Home the Calf; Jean - Francois Millet, The Shepherdess; William Sidney Mount, Bar - Room Scene, 1835; Camille Pissarro, The Place du Havre, Paris, 1893; Severin Roesen, An Abundance of Fruit, 1860; Albert Pinkham Ryder, The Essex Canal, 1896; John Singer Sargent, Venetian Glass Workers, 1880/82; John Singer Sargent, Thistles, 1883/89; John Singer Sargent, The Fountain, Villa Torlonia, Frascati, Italy, 1907; Elihu Vedder, The Fates Gathering in the Stars, 1887; Charles Wilbert White, This, My Brother, 1942; Hale Woodruff, Twilight, 1926; and more...

Study for Bullfight no. 1 is my favourite painting on display.

Marlborough Fine Art's stand at Frieze Masters is given over to a solo exhibition of Francis Bacon's prints and paintings, including the extraordinary Study for Bullfight no. 1 — a powerful vision of violence in a humming orange arena.

Just four works carried guarantees, including a 2008 Rudolf Stingel gold «carpet» painting, «Untitled (Plan B),» and a large 1990 Miquel Barceló «Muletero» bullfight canvas.

A sense of quivering energy pervades all facets of de Kooning's diverse body of work, which also includes ebullient abstractions inspired by landscapes, bullfights, and the Lascaux cave paintings.

Bulls and bullfighting enjoy a long artistic heritage, reaching back through Picasso's lithographs of the mid-1940s to drawings of bison in the prehistoric cave paintings at Lascaux and Altamira.

Other paintings opt for the bright and brilliant, including Getchoff's The Beginning (1960), Elaine de Kooning's show - stopping Bullfight (1959), and Ethel Schwabacher's Autumn Leaves (1956), though this last piece carries its own unfortunate tale.

The collection of paintings, sculpture and drawings focus on bullfights, matadors and the myth of the minotaur.

Though there may be a physical referent or memory on which an abstract painting is based — as for instance with Elaine de Kooning's Bullfight (1959), which is inspired by bullfights the artist saw in Mexico — the gestural and corporeal nature of abstraction ensures that the image is inextricably tied to the artist's hand, body, and mind.

Many paintings in this early field, including Elaine de Kooning's scrappy Bullfight, 1960, and Joan Mitchell's magisterial Ladybug, 1957, hint pointedly at these doyennes» fierce struggle for acceptance without any asterisk.

Born in the southern port of Málaga in 1881, he was a lifelong aficionado of the drama of the bullfight: matadors, picadors, horses, and bulls were recurring subjects throughout his body of work, from his earliest childhood drawings to some of his final paintings.

While bullfighting is about two animal wills, Action Painting is really about human actions and / vs.

Her paintings that fare best here are those that are the most abstract, like the puissant Bullfight (1959), which is one of the most compelling works in the show, with its highly saturated, polychromatic color and tornado of crashing brushwork.