Sentences with phrase «century painting then»

Not exact matches

On the basis of information in the Chronicle of Arbel, he paints out that by the year AD 100, the Christian faith spread not only in Arbel in Mesopotamia but also in the villages near by on the mountains, lie concludes: «If, by the beginning of the second century, the Christian faith had already won converts among the inhabitants of the mountain village in Hadiab, then there can be no doubt that the Christian faith had been established before the end of the first century in Edessa and also in Osrhoene, which were on the high way connecting Arbel with Palestine and Syria.»

Painted in 1939, just before the outbreak of World War II, it then represented a new line for Picasso, whose abstract techniques have done more to influence 20th century painting than that of any other artist.

French Prime Minister Manuel Valls visited the Mer de Glace (the Sea of Ice) Friday on Mont Blanc, where the retreating glacier has been documented for more than a century, through water colors painted before the invention of the still camera, black - and - white photos depicting a then - modern steam locomotive chuffing alongside the ice and today's high - definition satellite photos.

The story involves the theft and recovery of a priceless Renaissance painting, the battle for an enormous family fortune and the slow and then sudden upheavals that transformed Europe during the first half of the 20th century.»

It was first build in the early 18th century with primary function in 1945 as a court of law and then became a historical building displaying an array of paintings.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

Since then Agnew's has held a pre-eminent position in the world of Old Master paintings, and was instrumental in promoting contemporary British art in the late 19th century.

«Then, Stettheimer was still known only to insiders,» said Mr. Deitch, who used cellophane curtains and gilded white furniture to evoke the artist's early - 20th - century salon, and juxtaposed Stettheimer's frothy paintings of her illustrious friends with works by Elizabeth Peyton, Jeff Koons and Jane Kaplowitz.

For the RA, then, this exhibition is an opportunity to re-evaluate one of the truly world - changing movements of the past century, and to make painting feel vital again at a time when many art students never touch a paintbrush.

Now and then there are allusions to Wassily Kandinsky's energetic «Improvisations» from the early years of this century as well as momentary references to the paintings by Joan Miro from the twenties and Arshile Gorky's work of the forties.

Trees, flowers, clay, fruit, ice, sugar, and chocolate have all appeared as regular protagonists in her work, including a carpet of 10,000 flowers left to wilt on a museum floor; a room whose walls the artist painted in chocolate and then invited viewers to lick its sweet but precarious surfaces; and a thirty - two - ton minimalist grid of ice cubes melting in a nineteenth - century water pumping station in east London.

That helped me to conceive the installation, so when I walk into the CACNO, I'm conscious of Lucia Koch's colour compositions in one corner, then next to them, Lucien Smith's paintings, which make me think of science, indexes, and also 18th - century romanticism.

Thomas's layered process of fragmentation, in which she begins with a photographic portrait and moves to collage and then on to painting, is the result of discreet borrowings from our twenty - first century language of mass culture.

With photography now going through the same identity crisis that painting went through a century and a half ago at the advent of photography — the question then was «what's special about painting the world realistically when you can take a photo,» now it's «what's special about taking a photo when everyone takes a photo of everything all the time» — artists have been searching the edges of the medium to find a compelling way forward.

With the digital exhibition Fifty Years Later: The Portrayal of the Negro in American Painting, the BCMA brings a 21st - century perspective to the contextual issues related to the original exhibition — demonstrating the continual significance of art and art history as catalysts for urgent social and political dialogues, then and now.

Most of the paintings in the collection have been hailed as the work of the 16th - century Venetian genius and then debunked

Although she had been interested in modern and tribal art, by the time I started going to school in the mid-1940's she had fallen in love with the Hudson River School of landscape painters of the 19th Century whose paintings were auctioned off for a few dollars, literally, then at the various auction houses where we spent most Saturdays on University Place like Kalisky and Gabay and Lawners, and the nearby Astor over on Broadway.

Shang Kuang, a conservator at the Hamilton Kerr Institute was cleaning a 17th century Dutch painting by Hendrick van Anthonissen owned by the Fitzwillliam Museum when she first stumbled on a figure standing on the horizon line and then uncovered an entire whale beaching on the coastline.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

From early printmaking in the 90s of the last century to image scanning in medium - term, and then combining scanning, production, output, hand painting and other different ste

«It looks like a Dutch landscape painting from the 16th century, and then to the left there's this crazy, destructive - looking coal plant,» says Hayes, who is focusing on bioremedial plantings to try to cleanse the earth of heavy metals, while Camporeale, an animator and composer, is working on a sound installation in a nonfunctioning wastewater management facility.

She then sank «the line», the cherished privilege of hanging paintings just at the viewer's eyeline on the wall, which in centuries past has caused artists to trade insults or even punches, or withdraw their work entirely in a huff.

The image is superimposed over reproduced 19th century Dufour wallpaper he bought at Sotheby's — and then painted over «in Venetian Red and white.

For each of the Blackboard Tableau works (2007 — 15), she collected an early - twentieth - century writing slate and then used wood, paint, and pastel to create an identical twin.

Yet Lyons» MCA show was called, somewhat ironically (and then again, somewhat not), «Abstraction in the 21st Century,» a title that was clearly designed to provoke a certain amount of bemusement and even incredulity on the part of viewers, given the relatively short history of 21st century painting in gCentury,» a title that was clearly designed to provoke a certain amount of bemusement and even incredulity on the part of viewers, given the relatively short history of 21st century painting in gcentury painting in general.

There is a great, and profoundly disturbing, painting by the German master Gerhard Richter, and then a brightly lit, white - walled gallery, offering a beautiful synopsis of 20th - century monochrome abstraction.

Then again, long before Instagram permitted millions and millions to indulge in perfect pictures of other people's lunches, the still - life paintings — with their depiction of food, flowers and other commonplace objects — had gained popularity and found ample amounts of buyers during the the 16th and 17th century «Golden Age of Dutch Painting».

His finished works, then, can be seen as sophisticated, subversive meditations that propel abstract painting into the twenty - first century.

Since then, inspired by Giorgio de Chirico and traditional 17th - century Dutch and Flemish painting, Murata's work has ventured into the realm of hyper - realism in a series of uncanny prints and videos that explore our inner and exterior lives via everything from B - grade horror film imagery to relics of a 1980s childhood.

If landscape painting of the 19th century might be thought of as an empty stage --- then the sky of the 20th century could be described as the primary protagonist.

At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art because it was abstract, not figurative.

From then until his death, in 1980, at 66, * Guston left abstraction behind and made some of the most memorable and influential paintings of the late 20th century, big and small: huge, gloppy, opaque - colored images of Ku Klux Klansmen driving around in convertibles, smoking cigars; cyclopes heads, in bed, staring at bare lightbulbs; piles of legs and shoes; figures hiding under blankets, clutching paintbrushes in bed.

For each of the two Blackboard Tableau works (2007 — 15 and 2011 — 15) Celmins collected a nineteenth - or early - twentieth - century writing slate and then used wood, paint, and pastel to create an identical twin.

Her works begin with realistically rendered landscapes of nature, executed in classical painting techniques reminiscent of the mid-19th century American landscape painters, which she then circumscribes with an uncomfortably enforced abstract geometry.

In the hierarchy of genres, which was broadly accepted in the 18th century, history painting was ranked the highest, followed by portrait painting, then genre painting, then landscape painting, then animal painting, and then Still Life.

Also, some major answers had been provided by the paintings of the Mannerists at the end of the sixteenth century, then by Poussin and after them, the long and beautiful «brochette»: Manet, Seurat, Cézanne....

If Pollock is taken as a paradigm of expansiveness in painting, of being the origin of bigger and bigger formats, then Seliger, who showed at Peggy Guggenheim's Art of This Century in 1944 when he was 17, is the origin of an alternative trajectory.

And yet here it is, still there, a long twig with its branches jutting out, reaching for the sun a century earlier, then enclosed in its mass and the paint and masonry detritus of the old buildings.

Follow up the show of South American painting (1600 - 1825) at Stanford's Cantor Center with work by Beat figure Wallace Berman at the UC Berkeley Art Museum and then revisit 17th century France in the Claude Lorrain exhibition at the Legion of Honor in San Francisco.

If you count the side - by - side exhibitions in Tate Britain's Linbury Galleries as a single show — and there are good reasons why you might — then they bracket a neat half - century of British painting, from 1963 to today, from Patrick Caulfield's Concrete Villa, Brunn to Gary Hume's Yellow Window.

His work was then based on long established styles and subjects favored by such European Modernists as Pablo Picasso and Paul Klee, as well as on kitschy icons of 19th - century American painting such as Emanuel Leutze's Washington Crossing the Delaware (1851).

Trained in Amsterdam, he began by copying examples of 17th Century Dutch Realist genre painting, and then turned to subjects from Merovingian history (c. 5th ceCentury Dutch Realist genre painting, and then turned to subjects from Merovingian history (c. 5th centurycentury).

1965 British Sculpture in the Sixties, Tate Gallery, London, UK Contemporary British Sculpture (Arts Council open - air touring exhibition), Cannon Hill Park, Birmingham, US; Sussex University, Brighton, UK; Abington Park, Northampton, UK; Castle Grounds, Nottingham, UK; Bowes Museum, Barnard Castle, UK; Hillfield Gardens, Gloucester, UK Europese Beeldhouwers Tekenen, Zonnehof, Amersfoort and Het Slot, Zeist, NL IV Biennale Internazionale di Scultura, Carrara, IT VI Concorso Internazionale del Bronzetto, Sala della Ragione, Padua, IT A Collector's Choice: XIX & XX Century Paintings and Drawings, Dorsky Gallery, New York, US University of Hartford, Connecticut, US Sculptures from Albert A. List Family Collection, New York Art Center, New York, US Sammlung Sprengel, Kunstverein, Hanover, DE Nine Living British Sculptors (touring exhibition organised by Lalit Kala Akademi in association with the British Council), Lalit Kala Akademi, Delhi, IN; Lalit Kala Akademi, Calcutta, IN; Rajaji Hall, Madras, IN; Jehangir Art Gallery, Bombay, IN 1964 Study for an Exhibition of Violence in Contemporary Art, Institute of Contemporary Arts, London, February — March, then Arnolfini Gallery, Bristol, UK 54 — 65: Painting and Sculpture of a Decade, Tate Gallery, London, UK Profile III: Englische Kunst der Gegenwart, Städtische Kunstgalerie, Bochum, DE Contemporary British Sculpture (Arts Council open - air touring June exhibition), Cannon Hill Park, Birmingham, UK; Haworth Art Gallery, Accrington, UK; Wollaston Hall, Wollaston, UK; Imperial Gardens, Cheltenham, UK; Albert Park, Middlesbrough, UK; Lister Park, Bradford, UK London Group Jubilee Exhibition: Fifty Years of British Art 1914 — 64, Tate Gallery, London, UK Exhibition of Venice Biennale Prizewinners since 1948, Galeria d'Arte Moderne, Venice, IT Documenta III, Kassel, DE Figuratie en Defiguratie, Museum voor Schone Kunsten, Ghent, DE 1.

But perhaps the connections between then and now wouldn't be so pronounced if not for the pertinence of Schloss's paintings, which, in their seven - decade span, are as much a part of the 21st century as they are of Abstract Expressionism's Golden Age.

In the 20th century, watercolor was widely used by the Fauvists and early abstractionists like Wassily Kandinsky and Paul Klee, and then later in figurative painting by the likes of David Hockney and Francesco Clemente.