Sentences with phrase «century woodcut»

Andaleeb Badiee Banta, curator of European and American art, has proposed the purchase of a hand - colored, 15th century woodcut titled The Castration of Saturn.

The artist's historical research for this show began with an investigation of German printmaker Sebald Beham's sixteenth century woodcut, Fountain of Youth - Bathhouse (ca. 1531).

It's played using a custom controller consisting of actual vintage 19th - century telegraph hardware, and features on - screen visuals made entirely of found 19th - century woodcut illustrations.

The exhibition opens with a selection of later fifteenth - century woodcuts, by unknown artists, which were invariably employed to illustrate religious texts.

Two were early sixteenth - century woodcuts by Lucas Cranach and Albrecht Dürer.

Leading the charge, with half of the works, is acclaimed contemporary artist Georg Baselitz, whose collection of 120 16th - century woodcuts is to be exhibited at the Royal Academy.

She had recently seen an exhibition of fifteenth - century woodcuts at The Metropolitan Museum of Art, New York, and their faded colors reminded her of the tone of the red mulberries.

Not long after viewing an exhibition of fifteenth century woodcuts at the Metropolitan Museum of Art, Frankenthaler found herself in front of Tyler's tree.

Not exact matches

At his request, I would send him various recently published scholarly works on Shakespeare and in return he'd send me eighteenth - century Russian woodcuts, one of which hangs in my apartment to this day.

Two preachers articulate contrasting views of authority in a well - known woodcut from the sixteenth century.

I use both natural and abstract elements as my departure point to create a collection of items that combines my interests in bold, graphic woodcut / relief art, the craft of sewing, and, in particular, nature, giving a nod to mid-Twentieth Century design too.

Over an opening animation styled after eighteenth - century Japanese woodcut illustrations, a narrator (Courtney B. Vance) relates the legendary history of the «cat - loving Kobayashi clan» and its violent subjugation of dogs.

A complete set of woodcuts, rarely on view, depicts daily life in 19th - century Edo (now Tokyo) across four seasons.

Much care has been taken to represent the expressions of national and «racial» groups within in the country, and in evidence of this are presented woodcuts with Hebrew inscriptions by Moisei Fradkin and a group of absolutely Persian miniatures by Mathilda Mgebrishvili in the manner of the seventeenth century.

Working across large - scale woodcuts, gouache paintings, so called «typewriter drawings» and ceramic sculptures, their uniquely carnivalesque visual language combines influences from traditional folk art and abstract art from the early 20th century European avant - garde.

The art and craft of the woodcut was a source of inspiration for a small, influential group of European and American artists whose work helped shape the modern book in the decades immediately preceding and following the turn of the twentieth century.

A CURIOUS HAND: THE PRINTS OF HENRI - CHARLES GUÉRARD (1846 - 1897) Guérard made etchings for Manet and a variety of innovations within modern printmaking based on the 19th - century French craze for Japanese ukiyo - e woodcuts.

It includes lithographs, engravings, aquatints, photogravures, and woodcuts created by artists of the late eighteenth, nineteenth, and early twentieth centuries.

The rest of the canvas is densely filled with bold, instinctual marks like the harsh black lines of German Expressionist woodcuts in the first decades of the twentieth century.

Woodcuts, Engravings, Illustrations Cut from Books, Approximately Forty Pieces, 15th - 19th century.

The idea for this exhibition sprang from Donald Judd's great interest in Dürer (Judd owned several woodcuts and etchings) and the wish to see the stark images of two such different artists, who lived five centuries apart, while simultaneously considering the motivation for one's interest in the other.

Josef Albers, a founding member of the Bauhaus, pioneered print making in the last century, making use of numerous media, including etching, engraving, woodcut, lithography and screen - printing.

She became fascinated with the 17th century Japanese Ukiyo - e woodcuts and in the 1970s studied with Japanese artisan woodcarver Yasuyuki shibata.

Five Centuries of Woodcuts, The National Museum of Art, Architecture and Design, Oslo, Norway

The earliest woodcut prints date to the eighth century in Japan.

During his time in Paris (1886 — 88) he became fascinated by ukiyo - e, nineteenth - century Japanese colour woodcuts, and began to collect them on a large scale.

The Henry's print collection tells the history of artists and ideas starting in the 16th century Europe and America, and also of Japanese ukiyo - e color woodcut prints.

The artist wryly refers to her compositions as «arranged marriages» — an eighteenth century ukiyo - e Japanese woodcut is forced to coexist with a watermarked stock image that may have been snapped and uploaded to Shutterstock a day earlier.

Josef Albers, a founding member of the Bauhaus, was one of the most innovative printmakers of the twentieth century, making use of numerous print media, including etching, engraving, woodcut, lithography and screenprinting, from 1916 until his death in Connecticut in 1976.

The contemporary pieces are augmented with works by old masters: the important Apocalypse series of woodcuts by Albrecht Dürer (1471 — 1528) and Les Grandes Misères de la guerre by Jacques Callot (1592 — 1635), which reveal an impressive panorama of social rejection and human abysses in dialogue with contemporary works across centuries.

Our collection features works by artists from many countries such as the 16th century German Renaissance woodcut artists, Conrad Faber von Kreuznach, «Konrad Faber von Creuznach», the 17th century French artists, Antoine Masson and Francois Bignon, the British Artist, author and lithographic printer, Thomas Robert Way, the nineteenth century Norwegian painter, Anders Monsen Askevold, Anders Askevold, the British artists, Francesco Bartolozzi, George Percy Jacomb Hood, Sir Francis Seymour Haden, Luigi Schiavonetti and Donald Wilkinson, the French artists, Pierre Bonnard, Pierre Gusman, Othon Friesz and Gustave Adolphe Simonau, or the American artists such as Martin Lewis, Elmer William Brown, Elmer Brown, Jon Corbino, Robert Cumming, Erika Kahn, Louise Nevelson, Arthur Litt, James Craig Nicoll, Margaret Sargent, Margarett Sargent, Raphael Soyer and Federico Castellon, the Mexican artists, Jose Guadalupe Posada, and Francisco Dosamantes, and Jose Ignacio Aguirre, the Japanese artists, Hokusai, Kuniyoshi, Toshi Yoshida, and Yoshitoshi, the Austrian artist, Hans Gerstmayr, the German artists, Hilde Goldschmidt, Peter Ackermann and Hanns Anker, the Israeli artists, Abel Pann, David Sharir, Mireille Kramer and Yigal Zemer, the Satirical artists, James Gillray, George Cruikshank, William Hogarth Thomas Rowlandson and many others.

Exhibitors are art dealers from London to Los Angeles who will present nearly six centuries of printmaking from early woodcuts and traditional engravings, etchings and lithographs to innovative contemporary projects.

The beautifully illustrated exhibition catalogue explores the history of the chiaroscuro woodcut technique and how its use spread across different parts of Europe in the 16th century.

The deluxe - format volume features 80 woodcuts in brilliant color, some with collage elements — torn papers, butcher's paper, 19th - century wood engravings, and more — pasted on individual pages.

Washington, DC — At its January 2016 Board of Trustees meeting, the National Gallery of Art acquired a number of works including an extraordinary painting by Dutch master Frans van Mieris (1635 — 1681), an early portrait by Alex Katz (b. 1927) of his wife, Ada, a remarkable trompe l'oeil painting by an unknown 17th - century Dutch artist, and a deluxe - format artist's book with 80 woodcuts by Joan Miró (1893 — 1983).

Ephrem Solomon draws on woodcutting's history as a medium tied to 20th - century politics.

The manual production technique calls to mind 14th - century German woodcut patterns, but in Smith «Äôs inimitable drawing style.

This year, more than 80 exhibitors will present nearly six centuries of printmaking from early woodcuts and traditional engravings, etchings and lithographs to innovative contemporary projects.

One of the finest examples of her work, available at VFA, is Geisha, a 23 color Ukiyo - e woodcut on Torino paper, done in the ukiyo - e genre of art that was popular in Japan from the 17th through 19th centuries.

Inspired by Japanese ukiyo - e woodcuts of the 17th, 18th and 19th centuries, Frankenthaler studied and created woodcuts that reflected, not only the ukiyo - e tradition, but the unique use of color that is a signature of all of her work.

The collection of Baltimore industrialist and banker T. Harrison Garrett features works by Albrecht Dürer, Francisco Goya, and Rembrandt van Rijn among more than 20,000 engravings, etchings, and woodcuts ranging from the late 15th century through the late 19th century.

Fine and decorative arts objects have been high on the Cleveland Museum of Art's wish list, and through purchases from endowment funds the institution has acquired the 15th - century Byzantine icon The Mother of God and Infant Christ, which has been attributed to icon painter Angelos Akotantos; a 1977 abstract painting, Rho I, by Jack Whitten; contemporary Chinese artist Xu Bing's 1985 woodcut Five Series of Repetition: Moving Cloud (Yi - yun); and William Turner's ca. 1850 watercolor A View from Moel Cynwch: Looking Over the Vale of Afon Mawddach and Toward Cader Idris.