Sentences with phrase «by nineteenth and twentieth»

In 1938, Bourgeois opened an art gallery, specializing in works on paper by nineteenth and twentieth century French masters.

This deity and two others associated with him in the opening section, says Dr. Holtom, furnish the basis of a claim by some nineteenth and twentieth century Shinto scholars that Shinto believes in a trinitarian monotheism.

Not exact matches

After all, nineteenth - century Lutheran theologians like Ritschl and Harnack were leading lights of what Troeltsch later called «Neo-Protestantism»; they were followed in the twentieth century by the likes of Bultmann, Ebeling, and lesser imitators fighting at all costs to save Lutheranism against Karl Barth's new orthodoxy or Dietrich Bonhoeffer's call to discipleship.

This work helped Protestant and Catholic scholars break out of tired, polemical post-Reformation patterns of interpretation (which were greatly reinforced by earlier, supposedly «scientific» Protestant historical critics in the nineteenth and early twentieth centuries).

McCoy suggests that Whitehead, too, may have been shaped by biblical ways of thinking: «Indeed, it is highly probable that the process philosophies of the nineteenth and twentieth centuries emerged from contexts influenced by the covenantal or federal tradition and thus are in part intellectual progeny of covenantal theology and ethics» (CCE 360).

The very best of nineteenth - and twentieth - century theology, both Protesant and Catholic, has been engaged in executing modernity's turn to the subject and, by now, its corrective in postmodern categories.

Rather, her point is that the twentieth century might have been more humane if the ideologues of the nineteenth century had their sledgehammer theories softened, perhaps even overturned, by the twisting, evasive, allusive verbal ambiance of Yiddish, a folk tradition of language that testifies to the uncertainties and fragilities of life.

Furthermore, I reflect on these matters as a Protestant Christian whose theological views have been most deeply shaped by the Reformed theological current within the Protestant river, as that was channeled by nineteenth - century theological liberalism and then intersected first by that peculiar eddy in liberalism called «neo-orthodoxy» and then by various other theological eddies still swirling in the last half of the twentieth century.

The great theologian and preacher Friedrich Schleiermacher (1768 - 1834), who has been called the father of modern Protestant theology, did so at the beginning of the nineteenth century, but was subject to strong criticism in the twentieth century by Karl Barth, whose emphasis on the objective revelation of God in Jesus Christ has dominated much theological thinking in the twentieth century.

The four models discussed by Ford are twelfth - century Paris, seventeenth - century Halle, nineteenth - century Berlin, and twentieth - century Phoenix.

This vigor of a church unhampered by the close even though friendly control by the state has parallels in the enormous spread of Christianity through the Church in the Roman Empire before Constantine, in the vitality of the Church in Western Europe during the Middle Ages, and in the phenomenal expansion of Christianity in the nineteenth and twentieth centuries from churches which were either independent of the state or were less trammeled by it than had been most of the churches of the sixteenth, seventeenth, and eighteenth centuries.

The remaining chapters are concerned with nineteenth — and twentieth — century historical precedents to the present situation, with personal and institutional renovation, and with distortions and dissimulations by such authors as James Carroll, Michael Phayer, Garry Wills, and Susan Zuccotti (writers of whom Mr. Dalin is also critical).

Though there was a separation of church and mission in nineteenth century missionary thinking and practice, they moved steadily closer in the twentieth century, and by the Willingen Conference in 1952, the missionary movement had come to realize the inseparable relationship between church and mission.

Discredited by its association with a movement which had sought to eradicate Christianity itself, «progressive» Catholicism withered on the vine, while a newly confident «conservative» faith, characterised by rigorous orthodoxy and strict adherence to the Pope, would come to dominate Catholicism throughout the nineteenth and early twentieth centuries.

Since the twentieth century worked out its initial attitude toward the «historical Jesus» in terms of the only available reconstruction, that of the nineteenth century with all its glaring limitations, it is not surprising to find as a second consequence a tendency to disassociate the expression «the historical Jesus» from «Jesus of Nazareth as he actually was», and to reserve the expression for: «What can be known of Jesus of Nazareth by means of the scientific methods of the historian».

Through the nineteenth century of our era and into the twentieth biblical scholars have worked productively at the analysis of the Old Testament by means of a documentary hypothesis — the theory (supported by many variants such as these) that multiple documents or sources were employed and combined in the present text.

Let's not forget the historical fate of Thomas Aquinas, who more or less fell into eclipse until the nineteenth century, and for whom we can say that the twentieth century was his biggest moment by far.

The large - scale compilation of data of the nineteenth century and up to World War I has in the twentieth century and particularly since World War II been supplemented by a living encounter — a large - scale face - to - face meeting between persons of diverse faith.

Two factors above all have contributed to implant and to foster this hesitancy: on the one hand, the very structure of the discipline which serves as a sort of introduction or preparation, to the science of religions (one knows that the majority of historians of religions are former philologists, archeologists, historians, orientalists, or ethnologists); on the other hand, the inhibition created by the lamentable failure of the vast theoretical improvisations of the end of the nineteenth century and the beginning of the twentieth (mythology considered a «disease of language,» astral and naturist mythologies, pan-Babylonism, animism and pre-animism, etc.).

Most rural births continued to be attended by midwives in the late nineteenth and early twentieth centuries...» Considering history can be a comforting force when faced with the present.

European missionaries to southern Africa during the nineteenth and twentieth centuries played a strangely ambiguous role in the history and affairs of the Exploring sin, sacrifices and atonement, common themes used by missionaries.

A group to discuss the nineteenth and twentieth - century authors and books published by the Erewash Press.

More classical in style than gothic architecture, Jacobean homes built in America in the late nineteenth and early twentieth centuries, are characterized by steep roofs and decorative terracotta brick work, often with a lighter brick or stone trim around windows and doorways.

Making Painting is curated by Turner scholar James Hamilton, whose writings on nineteenth and twentieth century art have explored the continuing resonance of Turner's life and work across the past two hundred years.

Haverty bequeathed a group of significant late nineteenth - and early twentieth - century American paintings by William Merritt Chase, Henry Ossawa Tanner, John Twachtman, and Childe Hassam as well as a select group of sculptures.

The exhibition features almost sixty drawings by many of the artists who have shaped the course of nineteenth - and twentieth - century art, from Eugène Delacroix, Edouard Manet, Mary Cassatt, and Gustav Klimt to Pablo Picasso, Henri Matisse, Robert Motherwell, Richard Diebenkorn, Andy Warhol, Sam Francis, and David Hockney.

It includes lithographs, engravings, aquatints, photogravures, and woodcuts created by artists of the late eighteenth, nineteenth, and early twentieth centuries.

Exceptional examples include a late eighteenth - century portrait by the New England artist John Brewster, Jr.; a lush, highly detailed nineteenth - century still life by Severin Roesen, a German - born artist based in Williamsport in the 1860s; exquisite nineteenth - century landscapes by William Sonntag, John Kensett, and William Trost Richards; and an impressive range of twentieth - century paintings and sculptures by artists, including Marsden Hartley, Richard Diebenkorn, Red Grooms, and Marisol.

Diary / Landscape — the first mature body of work by this important contemporary artist — set the framework for his subsequent investigations of abstraction and his fascination with nineteenth - and twentieth - century New England.

In addition, the exhibition will feature nearly fifty works from Flavin's personal collection of drawings, including nineteenth - century American landscapes by Hudson River School artists, Japanese drawings, and twentieth - century works by artists such as Piet Mondrian, Donald Judd, and Sol LeWitt.

Critical to the exhibition are important selections from the carefully formed «units» by Phillips's nineteenth - and twentieth - century favorites: Daumier, including The Uprising; Bonnard, including The Open Window and The Palm; Klee, including Tree Nursery and Printed Sheet with Picture; and Braque — with some seven works, among them the elegiac Shower.

The exhibition is devised and curated by Turner scholar James Hamilton, whose writings on nineteenth - and twentieth - century art have explored the continuing resonance of Turner's life and work across the past 200 years.

This year, the Philadelphia Museum of Art presented a wide - ranging selection of photographs from their collection that were made by nineteenth - and twentieth - century female photographers.

That was the challenge undertaken this summer by the Pennsylvania Academy of the Fine Arts (PAFA), where its curatorial team, which includes a trio of experts in eighteenth, nineteenth, twentieth, and twenty - first century art, collaborated to rethink the themes and layouts of the galleries through 1950.

After a large foundation collection was established in the late nineteenth and early twentieth centuries, the acquisition of additional works over time has continued to broaden and deepen the story told by objects acquired earlier in the institution's history.

PEM's presentation of Samuel F. B. Morse's Gallery of the Louvre and the Art of Invention is accompanied by an installation of over sixty - five works drawn from PEM's collection of nineteenth - and twentieth - century American, Asian, and maritime photography.

PEM's presentation ofSamuel F. B. Morse's Gallery of the Louvre and the Art of Invention is accompanied by an installation of over sixty - five works drawn from PEM's collection of nineteenth - and twentieth - century American, Asian, and maritime photography.

The three works selected for Soundtracks are Sphere Packing: Mozart (2014; white polymer, 565 audio channels), Sphere Packing: Wagner (2013; glazed porcelain, 110 audio channels), and Sphere Packing: Cage (2014; plastic, 269 audio channels)-- an abridged walk through the eighteenth, nineteenth, and twentieth centuries.2 The series as a whole, featuring seventeen composers, constitutes nothing less than a broad history of classical music, with surprising insights in terms of productivity, ranging from seventeen compositions (by Claudio Monteverdi) to 1,128 (by Johann Sebastian Bach).

As it was expected, Sotheby's will present buyers an array of paintings, works on paper and sculptures by leading artists of the late nineteenth and early twentieth century.

Comprised of approximately fifty works, the exhibition interweaves prints by artists as wide ranging as Alfred Stieglitz, Sophie Calle, Man Ray, and Glenn Ligon, as well as works by anonymous and virtually unknown photographers from the nineteenth and early twentieth centuries.

April 11, 2015 - August 16, 2015 Guest curated by John - Michael H. Warner McCall Gallery Culling the University of Arizona Museum of Art permanent collection, this exhibition of iconic nineteenth - and twentieth - century landscape genre art includes works by Thomas Cole and Thomas Moran and sculpture by Alan Sonfist as well as select works from the...

The last also doubles here as the entry to a climate - controlled container lined with many older coal works, beginning with etchings from the nineteenth century that depict coal mines in the landscape, through paintings and drawings of the Industrial Revolution's coal quarries, and continuing to the twentieth - century photographs by the Bechers of Ruhr Valley mines.

Spanning movements from Impressionism to Cubism and Surrealism, Sotheby's Impressionist & Modern Art Evening Sale (Nov 14) will offer remarkable paintings, works on paper and sculptures by the leading artists of the nineteenth and twentieth century.

«One way of understanding the relation of the terms «modern,» «modernity,» and «modernism» is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.

From William Henry Fox Talbot's earliest «photogenic drawings» and Charles Nègre's translation of photographic images into a variety of mechanical processes, to the photogram process that was a staple for Man Ray, Dada, and the Surrealists, Past Picture draws from the extraordinary holdings of late nineteenth and early twentieth - century photographs in the collection of the National Gallery of Canada to present prints and images by some of photography's most innovative and influential inventors and practitioners.

The catalogue, with an essay by Frye Director Jo - Anne Birnie Danzker, documents the passage from these multidisciplinary experiments of the nineteenth century to the rise of figural and geometric abstraction in the twentieth.

The strength of this small collection is in the works of the nineteenth and twentieth century British artists, particularly significant is the small cluster of paintings by LS Lowry (see image below).

Preeminent American artists of the late nineteenth and early twentieth centuries like Winslow Homer (1836 — 1910), George Inness (1825 — 1894), John La Farge (1835 — 1910), and famed expatriates John Singer Sargent (1856 — 1925) and James Abbott McNeill Whistler (1834 — 1903) are each represented by high - quality drawings and / or paintings in the ACMAA works on paper collection.

Previous exhibitions have featured Laura Owens (also paired with the Balfour collection) in 2000; Rudolf Stingel (with nineteenth - century botanical drawings by Indian artists) in 2006, and John Cage with Merce Cunningham (shown with early twentieth - century botanical drawings by Lilian Snelling) in 2007.

In addition the exhibition features nearly fifty works from Flavin's personal collection of drawings, including nineteenth - century American landscapes by Hudson River School artists, Japanese drawings, and twentieth - century works by artists such as Piet Mondrian, Donald Judd, and Sol LeWitt.