From fifteenth -
century Madonnas to Robert and Sonia Delaunay's spiritualized formalism, the tondo format has historically conveyed a cosmic holism, intimating a transcendent space unhampered by corners or limits.
Not exact matches
I began making them public at the Jablonka Gallery in 1989: a show with Yves Klein, Joseph Beuys, Georg Baselitz and Brice Marden paired with
Madonnas and Pietas from eras spanning Gothich to the Baroque — and a tapestry from the early 16th
century of a broken spine.
Perfectly formed milky white miniature female naked sculptures provocatively exuding flowers from between their legs, together with drawings framed in traditional Persian miniature albums, Sokhanvari's multi-legged stiletto and suspendered swastika mandalas; a Murakami-esque milk sprouting
madonna and an erotic Egon Schiele figure sandwiched incongruously between a 16th
Century Persian nightingale and the monolith (from 2001: A Space Odyssey) take us on a journey from the sublime to the ridiculous.