Sentences with phrase «by social realism»

While Bearden's early work consisted of figural paintings inspired by the social realism that dominated the 1930s, a trip to Paris in 1950 inspired him to move closer to abstraction.

Not exact matches

This confession, rooted in the ancient piety and worship of the Mar Thoma Syrian Church and nourished in the ecumenical movement, underlies an ethic of profound involvement in the struggle for social justice, profound realism about the powers of this world including those which possess the righteous, and a profound hope which is never satisfied by the achievements of this world.

We can link this to two books — «Social theory and International Politics by Alexander Wendt: Cambridge University Press, 1999: 101 - 109 and «Realism and World Politics» by Ken Booth: Taylor and Francis, 2011: 326 - 329]

It is social realism as seen by Hieronymus Bosch, and if you are looking for a vision of absolute evil, the absolute repudiation of humanity, there are a couple of scenes here that will serve your purpose well.

Regardless of how effective the film was in removing barriers toward the horror via its commitment to realism, Scrapbook would nonetheless be received as an artifice by viewers due to the formal and social arrangements, such as credit sequences and watching the film on a tape which had either been bought or rented.

And aside from the dream sequences — all of which enhance and are justified by the story — the authenticity, realism, and social relevance established by writer / director Geremy Jasper is such that, at times, you could almost think you were watching a documentary.

It sometimes feels that the British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like «Billy Elliot» or «The Full Monty,» but more often turning out like «Calendar Girls» or «Song For Marion.»

Surrealism USa, the catalogue to the exhibition of the same name at the National Academy of Design, traces the history of this movement in the United States from the 1930s to the 1950s by examining its manifestations throughout the country — from Social Surrealism and California Post-Surrealism to Magic Realism and the beginning of Abstract Expressionism.

His career began in the 1930s, when he used the style of social realism to convey both the struggles and everyday lives of black people, shaped not only by racism but also by the Great Depression.

By the 1940s, feeling the limitations of social realism, Lewis transitioned to abstraction.

Hallmarked at once by expressionism and realism, Alice Neel's œuvre translates the paradoxical personality of its maker, who wanted to paint individuals from all social classes and create a visual history of her time — a Comédie Humaine.

A notable characteristic of modernism is self - consciousness and irony concerning literary and social traditions, which often led to experiments with form, along with the use of techniques that drew attention to the processes and materials used in creating a painting, poem, building, etc. [4] Modernism explicitly rejected the ideology of realism [5][6][7] and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision and parody.

The paintings he designed — influenced by the work of Mexican muralists, jazz music, and the prevailing social realism of the 1930s — were approved by the Federal Art Project but rejected by the hospital's administration for what they saw as an excess of subject matter relating to African Americans.

This genre, Social Realism, was considered a minor movement by the art establishment.

Morgan Falconer tells the story beginning with Jackson Pollock and the Abstract Expressionists on both sides of the Atlantic, proceeds through postwar abstraction in France, social realism in East Germany, the end of geometric abstraction in Europe, American post-painterly abstraction, the handmade ready - mades of Rauschenberg and Johns, Pop's rise in Britain and the US, painting's confrontations with photography in the 1960s and beyond, the return of expressionism in the 1980s, new approaches to Pop in the 1990s and 2000s, and the continued variety of some of the most recent paintings to be made by a younger, «post-medium» generation of artists.

But in the hands of curator Boris Groys the proposition turns ambiguous... «Specters,» as conceived by Groys, explores Russian «post-conceptual realism,» an artistic practice in which artists shift attention from isolated art objects and performances to their social and political context.

As a teenager, Gechtoff was heavily influenced by Ben Shahn's style of social realism [5], an international political and social movement that drew attention to the struggles of the working class and the poor.

A painter of murals during the 1930s, Guston's brand of social realism was heavily influenced by the compositions of Renaissance masters as well as Cubism's treatment of space.

In the show we see a priceless earlier work by Lewis, when he seemed to still be in his Social Realism stage, just before painting his most famous representational work: The Yellow Hat.

Another scoffs at Social Realism by amassing newspaper images of East German Olympic athletes and crossing each out with a big black X.

By the 1930s, Regionalism, along with its ethical cousin Social Realism formed part of a broad movement known as American Scene Painting, which struck a popular chord with many people, not least because it offered a positive antidote to the gloom of The Great Depression which was ravaging the country.

The gallery handles artwork from early 20th - century movements including American Modernism, African American Art, Social Realism, Regionalism, Magic Realism, and Precisionism by such artists as Milton Avery, Thomas Hart Benton, Oscar Bluemner, Paul Cadmus, Arthur Dove, Marsden Hartley, Edward Hopper, Rockwell Kent, John Marin, Reginald Marsh, PaJaMa, Fairfield Porter, Ben Shahn, and others.

Alex Katz: New York provides a fascinating overview of Katz's distinctive body of work, which has been described by the distinguished academic Donald Kuspit as «a new kind of American social realism».

The social realism of the thirties and forties had been superseded by abstraction; formalist issues were fiercely debated, and form itself seemed to be the subject of much of the work to be seen.

At the same time, the American scene was equally hostile to us because if, as we thought, to make an authentic gesture without any a priori idea of how it would turn out, was the real gambit, then everything — «hard - edge» abstraction with its ideology, Social Realism with its ideology, regionalism with its ideology, landscape painting with its sentimentality, portrait painting with its class background, anything you could imagine — was equally threatened by our premise.

Specific painting movements included the Ashcan School (c.1900 - 1915); Precisionism (1920s) which celebrated the new American industrial landscape; the more socially aware urban style of Social Realism (1930s); American Scene Painting (c.1925 - 45) which embraced the work of Edward Hopper and Charles Burchfield, as well as midwestern Regionalism (1930s) championed by Grant Wood, Thomas Hart Benton and John Steuart Curry.

While Partisan offers global insights, the exhibition is anchored by the inclusion of politically - oriented works by American artists such Philip Evergood, who is known for practicing a brand of Social Realism in the 1930s and 1940s, as well as prolific artists Leon Golub and Nancy Spero, of whom works will be on view from the 1970s and 1980s.

This is not to imply that Perry has brought together works of Social Realism; rather he has exposed a side of the collection — and British art — dominated not by big names but by «working» artists (e.g. David Hepher, Brian Robb, Margret Lovell).

In addition to Filonov's oeuvre, the display includes works of art by the representatives of other trends in the Russian avant - garde, as well as examples of social realism.

This campaign - based on the style of social realism championed by Ben Shahn (1898 - 1969)- was commissioned by the Federal Arts Project, a division of the Works Progress Administration (WPA).

They were influenced by Mexican muralism, social realism, and social satire.

Among the greatest examples is the work by the phenomenal Colombian artist Beatriz González who is known for her tough political Pop and, in more recent years, for her contemporary take on social realism.

By shooting stark, black - and - white images that are purposely blurry and grainy, Nakahira broke with Japan's photographic history of social realism and allowed elements of uncertainty and expression into his work.

Further assessing Avery's place in American art history, Patterson Sims wrote in an essay for the Whitney Museum of American Art: «Early in Avery's career, when Social Realism and American Scene painting were the prevailing artistic styles, the semi-abstract tendencies in his work were viewed by many as too radical.

The nation - state haunting here is the former East Germany, a state cornered by its political designation, one aligned to Cold War socialism and the social realism that became the sanctioned genre of that limited corner.

By the 1940s, Regionalism and Social Realism were placed on the same side of the debate as American Scene Painting, leaving only two camps, that were divided geographically and politically.

Initially influenced by surrealism and cubism, abstract expressionists rejected the social realism, regionalism, and geometric abstraction so popular with American painters of the 1930s.

Auchincloss, Pamela, and Klaus Ottmann, Social Strategies: Redefining Social Realism, published by Pamela Auchincloss / Arts Management, New York, NY, 2003, pp. 50 — 51 [ill.]

American painting in general, however, continued to be dominated by the realists — the Ashcan School and its successors, American Scene painting and Social Realism — until some 30 years later.

Legal principle must try «to keep the law abreast of the society in which [the judges] live and work»: «If the law should impose upon the process of «growing up» fixed limits where nature knows only a continuous process, the price would be artificiality and a lack of realism in an area where the law must be sensitive to human development and social change... Unless and until Parliament should think fit to intervene, the courts should establish a principle flexible enough to enable justice to be achieved by its application to the particular circumstances proved by the evidence placed before them.»