Sentences with phrase «classical history paintings»

Both works have elements of classical history paintings - their scale and triangular compositions echo famous scenes of Liberty over Battlefields or George Washington crossing the Delaware.

Her works are often constructed on a grand scale; with narratives of destruction and hope, they are in dialogue with classical history paintings.

Kauffmann's specialty would be the manly preserve of classical history painting.

Posed before a violent tableaux (a picture within the picture that pays homage to the sweeping compositions of classical history painting), the scene appears as a suspended moment in a mysterious narrative.

Not exact matches

Defy history as you try to become part of real classical paintings in Assassin's Creed IV: Black Flag.

They are displayed alongside classical Roman works and specimens of natural stone that provide a context for the relationship between painting and natural history, geology and archaeology.

Paul Pretzer's painting reflects his deep observations of the history of classical painting; Velazquez, Goya, Munch, and even Cézanne's are his starting point but then his work has a surfeit of add characters and objects.

The term history painting was introduced in the seventeenth century to describe paintings with subject matter drawn from classical history...

Paolini's belief that a work of art is not just reflective of the «here and now» but is also resonant of earlier traditions, has led him to investigate art's relation to the past, creating intriguing installations deeply rooted in art history from the Renaissance to today - from plaster casts of classical sculptures shattered on the ground, to photographs of iconic paintings by Northern Italian Renaissance painter, Lorenzo Lotto, or inquiries into the construction of the image.

Gardner ties in imagery from classical painting to open up the historical perspectives while simultaneously asserting his contemporary identity into the history of art.

Additionally, the complex network of lines in a Pollock or a de Kooning, however chaotic they may seem at first glance, form a perfectly enclosed system, one that is not inconsistent with the compositional history of classical European painting.

No longer setting a stage for a dystopian lifestyle borne by the delusions and failures of the Soviet system, the paintings on view are referencing Soviet visual representation and its history by juxtaposing, in fragments, hypothetical subjects from Soviet life and classical or baroque mythology.

There's copious amounts of invisible history to this project including references to 12 classical paintings of the Venetian cityscape, a recent tsunami in the Maldives, and the reliance the nation has on the fruit.

Although her work results from deep observations of the history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends classical notions of genre and narrative as she invites viewers into a delicious domain of confident brush strokes with a new aesthetic.

Those images combine the commercial and classical as icons of art history are juxtaposed with contemporary painting, commercial illustration, photojournalism, and three - dimensional household items.

With the aim of drawing attention to the lack of racial diversity through the history of painting, Awol Erizku creates photographs, paintings, sculpture, and video installations that evoke classical artworks whose subjects are replaced with models of color.

The subject of art history is a constant undercurrent in his work, whether Koons elevates kitsch to the level of classical art, produces photos in the manner of Baroque paintings, or develops public works that borrow techniques and elements of seventeenth - century French garden design.

Rooted in the craft of sculpture and paint, it rises from intertwining everyday objects in all possible and surprising ways, but still with a formal reference to the history and tradition of classical art.

The bright painted colours of classical statues and temples has worn away over history.

Tate's renowned collection of historic, modern, and contemporary art includes paintings ranging from late 19th century Victorian depictions of classical mythology and history, to present - day politicized representations of the artist's own body.

2011 - Present Workshop Instructor, Classical Drawing, Ellensburg, WA, Taught Classical Figure Drawing, Golden Mean and Visual Gravity (Spring 2011), Sight - Sizing / Classical Alterier (Summer 2011), Portraiture and Halftones (Fall 2011), Composition Visual Gravity & Asymmetric Balance (Fall 2011) 2006 - Present Affiliate Faculty, Drawing and Painting Program, Central Washington University 2009 - Present Affiliate Faculty, Art History Program, Central Washington University 2006 - Present Workshop Instructor, Eight Week Professional Practices, Foundational Drawing and Figure Drawing Workshops, Gallery One, Ellensburg, WA 2008 - Present Private Instructor, Drawing, Painting and Professional Practices for post graduate students, Ellensburg, WA 2008 - 2009 One Year replacement, Art Education Program, Central Washington University 2004 - 2005 Affiliate Faculty Metropolitan State University, St. Paul, MN, Taught Independent Study art students, Curatorial responsibilities in art gallery and Gallery / Museum Course 2000 - 2002 Affiliate Faculty, College of Visual Arts, St. Paul, MN, Foundational Drawing Class and Senior Thesis Committee 1998 - 1999 Affiliate Faculty, University of Minnesota, Undergraduate Beginning Drawing and Beginning Painting 1996 - 1997 Teaching Graduate Fellow University of Minnesota, Sole responsibility for class organization, lectures, demonstrations, discussions, and grading for Beginning Drawing (Fall 1996, Fall 1997 and Winter 1997), Advanced Drawing (Spring 1997), and Color (Winter 1997.

Drawing Room, London Curated by Shanay Jhaveri This exhibition explores how Indian classical music has inspired modern and contemporary artists, traces a long history, from early Indian miniature paintings (Ragamalas) through to drawings, animations and video works from the present day.

Virginia Jaramillo's meticulously formed abstract pulp paintings draw on a rich variety of sources spanning history and crossing cultures, from pre-Hispanic civilisation to classical geometry.

He references nature, literature, classical history and mythology through poetic, gestural painting and abstracted sculptures.

Half Gallery has a selection of paintings by Genieve Figgis on view, all of which look like someone's taken a classical figurative painting, held a candle to it, swirled the paint around, and repainted the figures to look creepy and sad — a successful exercise in enlivening history.

In recent years, Urs Fischer has been exploring the genres of classical art history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life in cast sculptures and assemblages, paintings, digital montages, spatial installations, mutating or kinetic objects, and texts.

His paintings blend contemporary and classical elements inspired by his rural Texas heritage with his study of mythology, religion, and history.

Writing for Art in America, artist and critic Carrie Moyer observed, «[Congdon's paintings are] neither history paintings nor landscapes, [but] more like candy - colored billboards advertising a stroll through a scenic archeological dig or a verdant classical garden.»

An heiress of pathbreaking abstractionists like Lee Krasner and Joan Mitchell, the British painter Cecily Brown updates the idiom of Ab - Ex painting by reaching back farther into history, summoning such figurative touchstones as the harrowing caricatures of Goya and the classical reposes of Poussin and Ingres.

Adding additional market power to this print is the bust on the right: its placement in this print, made in 1933, echoes the position of a cubo - classical bust that Picasso included in a painting from the year before, Nude, Green Leaves and Bust, which made history in 2010 when it sold for $ 106.5 million at Christie's, a record for the artist.

The next several hours I spent examining his art, and what I found was rather curious: the lenses that proved most helpful in understanding the paintings were those that at first glance seemed the least important, namely my own experiences as a European expat, my history as a lover of all thing classical music, and my scholarly expertise in a number of nonwestern art traditions.

Perhaps the waning of the modern humanist subject is best captured in Desiderio's mural - sized Un» Istoria (an ironic take on Alberti's Renaissance concept of istoria which laid the foundation for Western history painting).6 Parodying figures from a classical white marble frieze in this mid-20th-century scene, a line of mental asylum patients wearing white hospital gowns stroll through the park.

Her passion for plein air painting — a fundamental practice for the Impressionists — in tandem with her deep reverence for Classical and Renaissance painting, spills onto her canvases to create abstract works that interweave echoes of history with the contemporary in a fresh and enduring way.

Their poses take a cue from art history — mimicking Renaissance paintings and classical Roman statues.

The narrative of An Answer, begins with myths of classical antiquity, moves towards Renaissance intellectual history, modernity, and, ends finally, with an apocalyptic time beyond our time where that dripping paint has become the form of trees and archways.