Sentences with phrase «chalk figure study»

Among the earliest works were a rare compositional sketch by the fifteenth - century Florentine master Fra Filippo Lippi, an exquisite red - chalk figure study by Michelangelo, and sheets by Annibale Carracci, Domenichino, Pietro da Cortona, and both Giambattista and Domenico Tiepolo.

This red - chalk figure study of Hercules by the Italian Baroque artist Guercino belonged to the Swedish art collector and diplomat Count Carl Gustaf Tessin during the 18th century.

Not exact matches

At the Met, sixty works carefully chosen from the Lehman Collection offered a rapid, staccato trip through the history of European art, distinguished by such spectacular inclusions as a scrupulously observed walking bear by Leonardo da Vinci, from the late quattrocento, a cranky Dürer self - portrait from about the same time, an exquisite Fra Bartolomeo landscape of figures moving through mountainous terrain, from the very beginning of the cinquecento, and a startlingly intimate, casual study after Leonardo's Last Supper, drawn in red chalk by Rembrandt in the early 1630s, when he was still in his twenties.

The Puerto Rico - based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).

From portraits, figure studies, and landscapes to mythological and biblical narratives, the drawings represent a dynamic array of sacred and secular subjects in media ranging from metalpoint, pen and ink, and chalk to graphite, pastel, and charcoal.