Sentences with phrase «by painters such»

We will depart from the basic rule of realism as stated by painters such as Courbet, Manet, Monet, Cezanne and Signac «paint what you see» (perceptual painting) and move into the territory of Matisse, Picasso and Francis Bacon and «paint the emotion awakened by what you see» using photographs as a catalyst as well as some aspects of the perceptual painting approach.

The exhibition reveals the diversity of styles that emerged during the Depression Era, through works by painters such as Grant Wood, Edward Hopper, Georgia O'Keeffe, Alice Neel and Philip Guston.

The Prussian Blue series, developed between 2010 and 2012, is paired with efforts undertaken by painters such as Gerhard Richter, Luc Tuymans, Peter Doig, and Marlene Dumas, who previously worked with genocide images inflicted by trauma and collective memory in which photography mediated the production of history through appropriation.

In a separate gallery, the Singapore Pinacothèque will showcase a permanent collection of art by painters such as Amedeo Modigliani, Claude Monet and Jackson Pollock.

In the late»80s, they began showing photographs alongside works by painters such as Agnes Martin and Ad Reinhardt.

The midwest version of American Scene Painting was known as Regionalism, which was exemplified by painters such as Grant Wood (1892 - 1942), John Steuart Curry (1897 - 1946), Thomas Hart Benton (1889 - 1975), and later Andrew Wyeth (1917 - 2009).

Influenced by painters such as Alex Katz, Warhol and fellow Cincinnati native Jim Dine, Mr. Wesselmann began making collages in the late 1950s with material clipped from magazines.

It will show how he responded to the art he saw, by painters such as John Constable and John Everett Millais, and explore his love of William Shakespeare and Charles Dickens.

It includes works by painters such as George Abend and Felix Ruvolo — key figures in the The San Francisco Bay Area abstract expressionism movement, as well as works by Bay Area Figurative School artists, including Nathan Oliveira, David Park, Roland Petersen and Joan Savo.

It was mastered for the first time during the Italian Renaissance, by painters such as Piero della Francesca (1420 - 92).

Pop - Artists This popular style of modern art superceded the more intellectual Abstract Expressionism and was exemplified by painters such as: Andy Warhol (1928 - 87) and Roy Lichtenstein (1923 - 97).

In her view, the grid as practised by painters such as Piet Mondrian, Kazimir Malevich and Agnes Martin is a priori mute, resisting both personal and political narrative.

The lower horizontal band retains an emphasis on bands of color similar to abstract works by painters such as Morris Louis and a repetitive logic that foreshadows minimalists such as Donald Judd.

In Art in America this month Raphael Rubinstein, after reading issues of AiA from thirty years ago, considers the fate of Neo-Expressionism, a movement popular in the 1980s championed by painters such as Sandro Chia, Enzo Cucchi, Francesco Clemente, Markus Lüpertz, and Julian Schnabel that was ultimately overshadowed by the more cerebral work created by artists like Jenny Holzer, Sherry Levine, and Richard Prince — what we now call «The Pictures Generation.»

Inspired by painters such as Matisse and Picasso, she made studies of passers - by on Whitechapel High Street one Sunday afternoon, to create monumental and vividly coloured portraits celebrating local people on the platforms of Whitechapel station.

Aware of a similar technique pioneered by painters such as Helen Frankenthaler and Morris Louis, Osborne was initially interested in capturing the light and transparency of her watercolors and translating those qualities to canvas.

His work fits, more precisely, in the Lyrical Abstraction school of thought, which is also promoted by painters such as Michelle Destarac and Pierre Célice.

The Fauves were influenced by painters such as Cezanne, Gauguin, and van Gogh, who also simplified their paintings into either planes or flat forms, or used energetic and expressive bright colors.

Not exact matches

Using fruits such as blood oranges from Mount Etna and taking inspiration from English designer William Morris and Czech painter Alphonse Mucha, the brand lives by its «original» mantra.

Like a research subject performs better when they are wearing a «doctors lab coat» instead of a «painters coat», perhaps I too will act more professional by simply giving myself such a title.

What a huge disappointment, then, that it is such an extraordinary revelation, a breathtaking and acutely observed meditation on the intricacies of Victorian life, complete with a tour de force by Timothy Spall as the painter JMW Turner.

But the garish pastels of the Lost Village, while they introduce us to such delights as wondrous dragonflies, aggressively self - pollinating flowers and glow - in - the - dark bunnies, come off like some kind of family - friendly psychedelic trip (one that could only have been envisioned by the kitschy artist Thomas Kinkade, the «Painter of Light»).

The design is calm and neutral to let the views shine, but the luxury of the new look is there in the understated touches, such as artworks from some of Australia's most famous painters; you might be sitting under a work by Brett Whiteley or Sidney Nolan.

Juxtaposing works by fledgling avant - gardists such as Picasso and Mondrian with canvases by French academic painter Bouguereau, Pre-Raphaelite Burne - Jones, and the stars of the 1900 World's Fair, this exhibition remaps history.

Visit the upper level to see exceptional works such as the mid-19th century cedar sideboard crafted by George Dowden for the Cribb family's historic Ipswich residence «Gooloowan», Australian paintings such as Frosty morning by key Australian landscape painter Elioth Gruner, and the exquisite Australian wildflower tea service designed by renowned Australian botanical artist Ellis Rowan.

Pennsylvania, United States About Blog Taryn Day's style of painterly realism is inspired by the work of modern painters who combine realism with a strong emphasis on abstract design, such as Richard Diebenkorn, Fairfield Porter, Edwin Dickinson and Edward Hopper.

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

Such is the beautiful case of Sugarless Tea, a short watercolor film by filmmaker - husband - and - painter - wife team Sai and Amanda Selvarajan.

The exhibition presents works by classic tonalist painters such as Kenyon Cox, Arthur Wesley Dow and John La Farge, as well as a host of rarely seen painters.

The exhibition brings together a selection of nine paintings on monochrome stone (slate and white marble) by Italian painters such as Sebastiano del Piombo, Titian, Daniele da Volterra and Leandro Bassano, which reflect the consolidation of a new approach to artistic techniques that emerged in the early decades of the 16th century.

PG: The Renaissance chiefly - Piero, Mantegna, Uccello - but I was attracted also by the modern idioms - Leger, Picasso - and was close to the abstract painters on the project such as Stuart Davis, Burgoyne Diller, Arshile Gorky, Balcomb Greene, etc..

It includes an essay by David Rhodes that places Lawlor's work alongside still living but older European painters such as Per Kirkeby, Howard Hodgkins, and Pierre Soulage, and more directly compares Lawlor's paintings to Willem de Kooning's works from the 1980s.

Things become further complicated when that autonomy is itself called into question as it has, for example by abstract painters such Jonathan Lasker, Francis Baudevin, Ingrid Calame or Fiona Rae, to name only a few.

Walk into your prototypical observational painter's studio and you are likely to find monographs from modern painters such as Edwin Dickinson and Giorgio Morandi side by side with books on early Renaissance masters Masaccio and Piero della Francesca, as well as a tome filled with the prehistoric cave paintings from Lascaux.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Hirst has not responded to the charges of copying, but a spokesperson for him issued a statement: «The Veil Paintings are a development of a series Damien made in 1993 — 1995 called «Visual Candy» and are inspired by Pointillist techniques and Impressionist and post-Impressionist painters such as Bonnard and Seurat.

Painters such as Noel Mahaffey, John Moore, Elizabeth Osborne and Warren Rohrer tackled traditional subjects such as the landscape, the figure or interiors with new expressive energy - stirred by Pop, and influences from an older generation of artists such as George Segal, Agnes Martin, Alice Neel and Alex Katz.

In fact, she is a painter by training - influenced by Old Masters such as Diego Velázquez, Agnolo Bronzino, Philipp Otto Runge, -LSB-.....]

In order to transport such a raw depiction of New York onto the canvas [3], painters of the Ashcan School relied on a robust and unfettered style which was strongly influenced by the poetry of Walt Whitman, Henri's favorite poet.

Produced by the artist incubator Chicago Artists Coalition, the highly curated selection has included such burgeoning stars as painter Chelsea Culp, featured in this year's Bienal de Nicaragua.»

Such is the case with Artangel's framing of works from painter Peter Dreher's series Tag um Tag guter Tag (Day by Day Good Day).

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

While New York and the world were yet unfamiliar with the New York avant - garde by the late 1940s, most of the artists who have become household names today had their well - established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

The first section of the exhibition features these early experiments, conducted in the mid - and late - 50s, while Oiticica was a member of Grupo Frente (The Forward Group), which was led by his teacher, the painter Ivan Serpa, and included such artists as Lygia Clark and Lygia Pape.

Kline's small - scale rendition of a moving train draws the viewer into the painter's challenge as he tries to capture the essence of an object that defies, by its transformational movement, any such representation.

Works by artists such as Chuck Close, Petah Coyne, and Tom Friedman display the rich cross-fertilization that occurs when painters, sculptors and conceptual artists explore new ideas through photography.

Hales Project Room put the spotlight on rarely seen, richly stained abstractions created in the 1970s by American painter Virginia Jaramillo, whose practice has recently been rediscovered through important group shows such as Soul of a Nation: Art in the Age of Black Power and We Wanted A Revolution: Black Radical Women, 1965 - 85.

In order to reinterpret portraiture, the artist researched materials utilized by Renaissance painters, such as mica.

It shoots a withering glance that I imagine was familiar to such targets of her ire as Harold Rosenberg (whose partisan 1952 essay on the action painters seemed to tacitly favor Willem de Kooning) as well as the obstreperous Pollock himself, referred to by the gallery staff, always with titters, as «Mr. Krasner.»