Sentences with phrase «century painting tradition»

Not exact matches

It is finished in its original two - tone Black and Tan that looks especially nice even three decades after it was applied by Tiffany Motor Coach but obviously there's much more to the coupe than just paint, cool cars like this that are built in the same tradition of the Excalibur and Zimmer add century - old class and distinction to more modern components, that's where you get the custom swoopy fenders, decorative exterior exhaust ports, 2 exterior spare tires, full - length running boards, and bright wire wheels and of course the classic - style trunk with leather straps but beyond the grandest of grand touring appearance are the fundamentals you want for example, the doors are unaltered from the original Mercury Cougar body, the same goes for much of the main glass and underlying components, so maintaining this one - of - a-kind appearance is much easier than it might first seem.

It had been a centuries - old tradition that the friars would share their meals in front of the north wall on which Leonardo had painted the twelve apostles preparing to eat theirs.

Located in Trafalgar Square, London, The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries.

But because traditional Chinese painting has long been poised between figuration and abstraction, many 20th - century Chinese artists have hesitated to embrace this Western tradition.

Wall has created a unique, seductive and complex pictorial universe by drawing upon philosophy, literature, nineteenth - century painting, Neo-Realist cinema and the traditions of both Conceptual art and documentary photography.

These abstract qualities generate a form of psychological impressionism, reanimating a more than century - old tradition of landscape painting that insists on temporal and subjective experiences above representational content.

For centuries, Western art traditions have been centred on creating tangible and physical objects such as paintings, architecture and sculpture.

A half century of tradition has its roots in the original idea to build freestanding walls in front of the old schoolhouse — Ashawagh Hall — on which to hang paintings, and bring them in at night; those walls erected by none other than Athos Zacharias.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» (or «flung ink») painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

In the selected items on view, the developments of American artistic traditions can be traced through the early interests in portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintings.

Inspired in part by a trip with Larry Rivers in 1950 to Paris, where she was especially impressed by the work of Vuillard and Bonnard, she immersed herself in the tradition of 19th - century European painting.

They build on the 18th - century tradition of trompe l'oeil painting, but have a darker cast.

The painting is made with bleached paper that is scored and molded by hand to produce a sculptural surface, renewing the traditions of abstract and materialist painting for the 21st century.

Mark Bradford has emerged in the past decade as one of the most inventive and accomplished artists of his generation, extending and transforming the traditions of 20th - century American painting into an empathetic yet demanding reflection of the urgency, tension, and vibrancy of our present moment.

Invoking past and future in a critique of the present, these paintings, photographs, sculptures, videos, and other works document observed, current realities while referencing the aesthetic traditions of 19th - and 20th - century art.

Evoking the tradition of many of the great landscape painters of the past, including Monet, van Gogh and the 19th century master J. M. W. Turner, Blueberry demonstrates Mitchell's skill at elevating into oil paint the feelings that the landscape evoked in her.

Composed of approximately 150 paintings and sculptures made in India between the second century and 1900 A.D., this exhibition will serve as a brief survey of Hindu art styles as well as an examination of the Vaishnava (Vishnu - worshipping) tradition.

1978 Perceptions of the Spirit in Twentieth Century Art, University Art Museum, Berkely, CA; Art Institute of San Antonio, San Antonio, TX; Columbus Art Museum, Columbus, OH Northwest Traditions, Seattle Art Museum, Seattle, WA 26th Annual Exhibition, Museum of Art of Ogunquit, Ogunquit, ME George Twutakawa & Morris Graves: Paintings, Drawings & Sculpture, Olin Gallery, Whitman College, Walla Walla, WA

1957 The 25th Biennial Exhibition, Corcoran Gallery of Art, Washington, DC LXII American Exhibition: Painting & Sculpture, The Art Institute of Chicago, Chicago, IL Golden Years of American Drawing 1905 - 1956, The Brooklyn Museum, Brooklyn, NY; Sloshley Art Gallery, Brandeis University, Waltham, MA 46th Annual Exhibition of American Painting, Randolph - Macon Women's College, Lynchburg, VA Cinq Maitres de la Ligne, Henry Clews Memorial, Fondation d'Arte de la Napoule, Paris, France American Painting 1945 - 57, The Minneapolis Institute of Arts, Minneapolis, MN Pacific Northwest Painters & Sculptors, Ogunquit Museum of Art, Ogunquit, ME 20th Century Works of Art, Krannert Art Museum, University of Illinois, Champaign, IL The American Vision - Paintings of 3 Centuries, Wildenstein Gallery, New York, NY Art in Asia & The West: An Exhibition to Illustrate Varied Aspects of Asian Traditions & Their Importance for Art in the West, San Francisco Museum of Modern Art, San Francisco, CA Annual Exhibition of Contemporary American Painting, The Whitney Museum of American Art, New York, NY 8 American Artists for the United States Information Agency; Korea, Japan, Australia, Europe Carnegie Institute Collects, Cincinnati Art Museum, Cincinnati, OH Prints and Drawings: Mainly By Modern French Artists, Parke Bernet Galleries, INC., New York, NY Seattle World's Fair, Seattle, WA

The series of prints Tales of Genji I — VI (1998) was created in the nineteenth - century tradition of Japanese ukiyo - e (scenes of the floating world), in which the artist creates the initial painting, and woodcarvers and printers make the final print.

This tradition, carried forth, expanded, and transformed over the course of the 20th century, continues into the present with innovative approaches to the genre by: Patrick Wilson Ruth C. Horton Gallery Los Angeles artist Patrick Wilson creates luminous, sumptuously colored abstract paintings composed of richly layered geometric forms — lines, squares, and rectangles.

By not painting from life, Doig and most mid-career painters of the late 20th and 21st century have, it seems to me, a fundamentally different relationship with modernist painterly tradition from the generation above them — Freud, Leon Kossoff, Frank Auerbach, even David Hockney.

Giorgio Morandi, Still Life (Natura morta), 1956 Oil on canvas; 9 7/8 x 13 7/8 inches September 16 — December 14, 2008 This is a comprehensive survey — the first in this country — of the career of Giorgio Morandi, one of the greatest 20th - century masters of still - life and landscape painting in the tradition of Chardin and Cézanne.

The international nature of Deng Guo Yuan's art is thus evident early on in his career, and his early twenty - first century work with ink painting is also to be understood in this vein: as a continuation of a major tradition in Chinese art with an eye toward innovations infused with the concerns of other nations and cultures.

Like the paintings, the sculptures fuse together different traditions and techniques, ranging from 17th Century French Chinoiserie to mass - produced kitsch tchotchkes to the molten forms of Peter Voulkos's sculptures.

In response, we constructed and photographed sets illustrating this contradiction, taking inspiration from art historical traditions of 19th century sublime landscape painting and pop culture apocalyptic film.

Today, Yun's work has come to embody the intersecting traditions of Korean scholarly painting and twentieth century abstract art.

In several paintings women are featured in elaborate tignons, an 18th century headdress imposed by law for women of color in New Orleans and a tradition that although imposed as a form of oppression became, through elaborate patterning and design, a symbol of power and beauty.

The four emerging and established artists that dot the globe for «Voluntary Sculptures,» relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade.

Thus she harks back on the one hand to the Nordic tradition of landscape painting in the 19th and 20th centuries (Dick Bengtsson, Carl Fredrik Hill, Ernst Josephson, among others), while on the other hand she takes interiors from forensic investigations as her basis and thus allows unvarnished reality to enter her paintings in the form of commonplace rooms.

The continuing tradition of monochrome (one colour) painting in western art began in the early 20th century.

In her essay, Galitz draws upon the research of the art historian Robert Rosenblum, who in 1975's «Modern Painting and the Northern Romantic Tradition» expounded on the connection between the Romantic sublime of the 19th century and Abstract Expressionism.

This exhibition will include important paintings, sculpture, photography and works on paper by more than thirty artists, offering a rare opportunity to examine the significance of an artistic tradition that, outside of the African - American community, was too often ignored during much of the twentieth century.

Works include woodblock prints, hand - painted scrolls, metal works and sculpture that highlight esteemed and centuries - old artistic practices and traditions from the cultures of Japan, China, India, Tibet and Thailand.

In «Leniniana,» I revisit the tradition of representation of V.I. Lenin's image in the 20th century Russian painting.

A link between Eastern and Western sensibilities, her works are successful for the subtle way she changes ab - ex tradition, and is emblematic of painting in the 21st century.

Cut - and - paste collage may have formed the compositional backbone of 20th - century art, but Russell Mills takes the tradition into moodier realms of disorientation, mixing paints with ashes, teeth and crushed glass.

Whether through painting, drawing, sculpture, video, or other media, contemporary artists have drawn on the centuries - old tradition to create works of conceptual vivacity, beauty, and emotional poignancy in the present time.Structured according to the classical categories of the still - life tradition — Flora, Food, House and Home, Fauna, and Death, each chapter in Michael Petry's book explores how the timeless symbolic resonance of the memento mori, has been rediscovered for a new millennium.

White's commitment to an apparent tradition of representational painting imbues his work with a fundamental permanence, underscoring the continuity in moments of silence, doubt and repose that have been the subject of art for centuries, whilst profoundly updating its implications.

Yet all seven painters share one common bond — their work is a contemporary interpretation of the centuries - old tradition of American landscape painting.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

Widely regarded as the last great pure painter of the Western painting tradition, Willem de Kooning towered over the late 20th century as only Pablo Picasso dominated its first half.

Wilson worked with Venetian craftsmen to develop an innovative process for layering traditional Murano glass mirrors together and also conceived of a technique that reversed the centuries - old mirror making tradition — etching and painting the verso black rather than silver — in order to lend a ghostly appearance to the reflection that the mirror casts.

Like the paintings, the sculptures fuse together different traditions and techniques, ranging from 17th - century French Chinoiserie to mass - produced kitsch tchotchkes to the molten forms of Peter Voulkos's sculptures.

Hewitt draws on the tradition of 17th - century still life / Vanitas paintings, in which decaying matter symbolizes the inevitability of death.

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.

Where an early generation of artists had portrayed the romantic lure of the American Southwest during the nineteenth - century using European Academic painting traditions to represent the environment and inhabitants of the region as exotic, Modern artists took a very different approach.

Her large - scale, bold and colourful abstract works could not seem further from the pale, stormy and subtle paintings by Turner, who was working within the landscape painting tradition almost a century earlier, but the two artists share a connection in their attraction to landscape and nature.

Taking on the artistic traditions of Western nineteenth century painting, Monkman's appropriations of «New World» painting are meticulous recreations of large - scale, sublime landscapes.

Aside from symbolizing Britain's long tradition of horse racing and fox hunting, equine images are etched in the public imagination, from centuries - old hillside chalk carvings of horse figures to George Stubbs's paintings of noble mares and stallions.