Sentences with phrase «classical landscape painting»

There, he studied under the classical landscape painting master Lu Yanshao and taught from 1981 to 1987.

I am going to make the jump from acrylic to oil and am wondering if you can recommend a limited pallet for classical landscape painting?

• Classical landscape painting, as well as decorative ceiling frescoes championed by the Bolognese School (1590 on).

Cornaro uses the medium of classical landscape painting as a metaphor for the networks of power and politics that subtly shape our world.

His biggest contribution to experimental Chinese contemporary art, however, is his combination of classical landscape painting and body art.

Each of these installations is loosely based on a classical landscape painting by the 17th - century artist Nicolas Poussin (1594 — 1665) created as three - dimensional interpretations using sets of pedestals and standing walls in varying dimensions to display objects in meticulous arrangements.

Not exact matches

As Richter explained, «landscapes... show my yearning... But though these pictures are motivated by the dream of classical Order and a pristine world — by nostalgia, in other words — the anachronism in them takes on a subversive and contemporary quality» (Gerhard Richter, «Notes 1981», The Daily Practice of Painting, London, 1995, p. 98).

Throughout the paintings, the women are found in various Classical poses and setting that are abstracted version of Arcadian landscapes and mythological environments.

His elegant paintings present a modern, quintessentially American take on the classical themes of portraiture, landscape, figure studies, marine scenes and flowers.

A classical Chinese landscape painting is not meant to reproduce an actual view, as would a Western figurative painting.

In classical paintings, the female body has often been depicted as part of a landscape, or perhaps more flatteringly, as the muse for a man to create art.

Transplanted from Dumbo to Chelsea for the summer, 247365 presents a show that abandons abstraction and, counterintuitively, explores the reemergence of classical themes — landscape, still life, and portraiture — in painting.

Ray's paintings of exteriors and interiors of houses / studios, natural landscapes, and classical buildings, are all meticulously rendered on minute canvases.

Trained in East Germany in the classical art of realist painting, Richter's images have the quiet stillness of European masterworks, taking in genres such as the still life, landscape and portraiture, but of contemporary subjects that are often rendered like a slightly out of focus photograph.

As the artist explained, «if my Abstract paintings show my reality, then the landscapes and still - lives show my yearning... though these pictures are motivated by the dream of classical order and a pristine world - by nostalgia in other words — the anachronism in them takes on a subversive and contemporary quality» (G. Richter, quoted in A. Zweite (ed.)

Rauschenberg's use of juxtapositioning various things out of a context, creating a whole new environment and context, always appealed to me more so than making a painting about something; about a landscape, portrait, still life, or historical or classical event and so forth; biblical thing.

Using oil on canvas as her primary medium, Leila's earlier works included classical still life and landscape paintings.

The works are polished but purposefully obscured and draw upon the classical genre of landscape painting.

His primary work is in figurative art; portraiture, classical studies of nudes and landscape painting, although commissioned work has included large scale abstracts.

Dunne notes that Miller, «a professional mathemetician... very quickly... came to look on [painting] as a distinct language in itself, a language that is coherent, self - consistent, formally rich and infinitely flexible, and he applied his mind to its problems... As with Corot, he looks not to classical narratives but to the immediate fact of the landscape.

Claude Lorrain (1600 - 82) French painter revered for his famous landscape paintings, typically featuring classical Italianate pastoral scenes.

Drawing from classical painting and architecture, the contemporary urban landscape, and popular culture, Scheibitz deconstructs and recombines signs, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations.

Yet, it is where Cheung's «subversion of classical Chinese landscape painting» takes place, that this work comes into its own for the viewer.

Yang Yongliang's (b. 1980, Shanghai) monumental works from the new series «From the New World» (2014) are characterised by the artist's unique digital re-interpretation of classical Chinese landscape painting.

Shirana Shahbazi makes photographs in classical art - historical genres, including portraiture, still life, and landscape, often translating and repeating her images in different mediums: hand - knotted carpets, for instance, and photorealistic billboards painted by artisans hired in her native Iran.

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.

In landscape painting, the Italianate artists were the most influential and highly regarded in the 18th century, but John Constable was among those Romantics who denounced them for artificiality, preferring the tonal and classical artists.

There were stirring landscapes, mesmerizing scenes of classical inspiration, large and captivating religious paintings, and a particularly stinging pictorial satire — the Fortuna, now in the J. Paul Getty Museum, Los Angeles ---- that caused Rosa real problems with the papacy.

The material recalls classical Greek sculpture, while the style, and even the titles at times, refers to classical Chinese landscape painting.

The more traditional style has been maintained by artists like the Armagh - born Cecil Maguire (b. 1930) and Martin Gale (b. 1949), while the classical style of landscape painting was exemplified by the Waterford and Florentine artist Niccolo D'Ardia Caracciolo (1941 - 1989), and later by Martin Mooney (b. 1960), as well as the Impressionists Norman Teeling (b. 1944) and John Morris (b. 1958), and the Realist / pre-Impressionist Paul Kelly (b. 1968) and Henry McGrane (b. 1969).

The Landscape Garden is rooted in an eighteenth century taste for idealised classical landscapes that developed from studying the seventeenth century landscape paintings of Salvator Rosa, Gaspart Poussin and Claude Lorrain.

Outward - bound and inward - bound are the directions taken by Chinese landscape painting, and it carries us on some fascinating voyages in a show that mixes classical and contemporary art.

Her abstract paintings on canvas and paper employ gestural mark - making and colors that are influenced by the palette and forms of the Chilean landscape, the country's pre-historic rock art, and its classical music.

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.»

As seen in this meditation on art and interpretation, Indian abstract painter Paramjit Singh's landscape paintings of the Kangra Valley open a free play of imagination, evoking diverse Eastern and Western, classical and folk associations, from Sanskrit poet Kalidasa and local myths and legends to haiku and Alice in Wonderland.

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.

Compositional formulae using elements like the repoussoir were evolved which remain influential in modern photography and painting, notably by Poussin [18] and Claude Lorrain, both French artists living in 17th century Rome and painting largely classical subject - matter, or Biblical scenes set in the same landscapes.

Being drawn to their uneasy balance of modernity and nostalgia, these paintings reflected a complex and contradictory attitude toward urban society and fashionable resort life, keenly depicting the social changes that made the sea - bathing fad possible, while, at the same time, reaching longingly back to classical themes of the nude in an idyllic landscape.

Mostly posted between the 1960s and the 1980s, the postcards represent landscapes that somehow allude to well - known paintings in their classical composition.

In jarring juxtapositions of contemporary, modernist and retro - futuristic motifs within classical landscape compositions, Ged Quinn's large scale paintings combine anachronistic references to art and literature with the strong traditions of landscape and still - life painting.

The Netherlandish tradition of the «world landscape», a panoramic view from a very high viewpoint, pioneered by Joachim Patinir in the 1520s, once again begins to include a wide expanse of water in a rather similar way to the classical paintings, which these artists can not have been aware of.

One of the most important categories of art developed by the «classical» painters of the 17th century was landscape painting.

These classical Italianate pastoral landscapes were further infused with a poetic light, which represents his unique contribution to the art of landscape painting.

Classical Chinese landscape painting was supposedly begun by the famous Jin Dynasty artist Gu Kaizhi (344 - 406).

Coinciding with the classical Arcadian landscapes of Claude Lorrain and Nicolas Poussin, working in Rome, the Dutch school began to produce great examples of Baroque landscape painting, of which the finest works were created by Jacob van Ruisdael (c.1628 - 82) and his pupil Meindert Hobbema (1638 - 1703); other top artists included Philips de Koninck (1619 - 88) who specialized in large - size panoramic views; and Aelbert Cuyp (1620 - 91) noted for his soft light and impastoed highlights.

His finest landscape paintings - riverscapes and scenic views with placid livestock are characterized by great serenity and masterful handling of glowing light in an Italianate style - a style he took from Claude Lorrain and other classical painters.

His Patagonia pictures — referencing romantic landscape painting — employ classical compositions.

These two types of outdoor subjects and techniques evolved into the main classical styles of Chinese landscape painting.

Drawn especially to landscapes, he made copies in the Louvre of works by Claude Lorrain (1600 - 82), the classical French master, as well as those by the Dutchmen Salomon van Ruysdael (1602 - 70), Aelbert Cuyp (1620 - 91), Jacob Van Ruisdael (1628 - 82) and Meindert Hobbema (1638 - 1709), and especially those by John Constable (1776 - 1837) and Richard Parkes Bonington (1802 - 28) of the school of English landscape painting, whose work he greatly admired.

When you see those classical Chinese landscape paintings there are often a little person somewhere in there, but they are so tiny compared with the huge mountains.