Sentences with phrase «classical landscapes by»

In 1980, objects from the Warren Robbins collection became part of the museum, including works by 19th century artists Joshua Johnson, the earliest documented professional African - American painter; classical landscapes by Edward Mitchell Bannister and Robert Scott Duncanson; and neoclassical sculptures by Edmonia Lewis, the first professional African American sculptor.

Not exact matches

Conrad Hal Waddington coined a classical metaphor for the process of cell differentiation during development: An epigenetic landscape characterized by valleys of different levels, and hills to separate them.

In the 1660s, the gardens were re-designed by a popular landscape artist, André Le Nôtre, and took on a classical, French layout — opening to the public in 1667.

Canadian artist Mike Efford creates incredible landscape artworks that «conjure up the unseen spirit of the land», and he does so by using the latest animation software while listening to classical music.

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).

Among contemporary American photographers, Opie is exceptionally attuned to the histories of representation, and Portraits and Landscapes vigorously embodies the artist's conversation with classical European portraiture as well as the American Pictorialist idiom within landscape photography championed by Alfred Stieglitz in the early 1900s.

Truth in today's surreal landscape By Ashley Jonas Photo: «Silver Lake Operations # 1» by Edward Burtynsky at DAI The third and final installment of the Dayton Art Institute's Year of the Classical Elements explores the theme of the sublime in contemporary landscape photography with Ravaged Sublime: Landscape Photography in the 21st Century, which opened -LSB-..By Ashley Jonas Photo: «Silver Lake Operations # 1» by Edward Burtynsky at DAI The third and final installment of the Dayton Art Institute's Year of the Classical Elements explores the theme of the sublime in contemporary landscape photography with Ravaged Sublime: Landscape Photography in the 21st Century, which opened -LSB-..by Edward Burtynsky at DAI The third and final installment of the Dayton Art Institute's Year of the Classical Elements explores the theme of the sublime in contemporary landscape photography with Ravaged Sublime: Landscape Photography in the 21st Century, which opened -LSB-...]

Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities.

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.

While these elements reflect the components of a seemingly classical composition, Carreño portrays the scene within a verdant landscape that evokes an imagined tropical garden inspired by the artist's native Cuba.

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.)

As the artist explained, «my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestions of lost Paradises, but above all «untruthful» (even if I did not always find a way of showing it); and by untruthful I mean glorifying the way we look at Nature — Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless; the total antithesis of ourselves, absolutely inhuman» (G. Richter, quoted in D. Elgar, Gerhard Richter: Landscapes, Hanover 200landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestions of lost Paradises, but above all «untruthful» (even if I did not always find a way of showing it); and by untruthful I mean glorifying the way we look at Nature — Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless; the total antithesis of ourselves, absolutely inhuman» (G. Richter, quoted in D. Elgar, Gerhard Richter: Landscapes, Hanover 200Landscapes, Hanover 2002, p. 30).

Anchoring the exhibition is the stunning Black Mat Oriole video, an ambitious work five years in the making, in which Kang has created an immersive narrative influenced by the flow and movement found within classical Korean poetry, calligraphy, and dance but is firmly rooted in the contemporary landscape.

West Gallery: Su Schnee An exhibition of recent large - scale, mixed - media works on paper by Montreal artist Su Schnee will open at Mercer Union on Tuesday, January 6 at 8:00 p.m. Su Schnee's striking and evocative imagery falls within the parameters of two classical themes: landscape and portrait.

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.

We recognize an ample nude inspired by Rubens, references to classical sculpture, and landscape forms, tantalizingly repeated.

As he did in Cave of Forgotten Dreams (2010), here Herzog has paired a set of romantic landscapes with a contemporary classical score by Reijseger.

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 first - a continuation of the classical tradition popularized by Claude Lorrain - produced ideal - landscapes, often depicting scenes of the Italian countryside, real or imagined.

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.

This form of landscape art was governed by classical concepts, and typically featured classical ruins, and pastoral figures in classical dress.

Thomas's work stems from her study of art history and the classical genres of portraiture, landscape, and still life, and is inspired by a wide range of sources, from Hudson River School landscapes to Henri Matisse's nudes and Romare Bearden's collages.

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.

Fifteen years later, he further elaborated that «my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all «untruthful»... by untruthful I mean the glorifying way we look at Nature — Nature, which in all its forms is against us, because it knows no meaning, no pity, no sympathy...» Richter's approaches to landscape are various indeed, yet uniquely and recognizably his.

His compositions and interest in light effects were influenced by Claude Lorrain's classical landscapes, but he rejected...

In the vein of the French classical landscape painter, Claude Lorrain, he produced the Liber Studiorum (1807 — 19), 70 drawings that were later reproduced by engraving under Turner's supervision.

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.

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.

American portraiture is represented by James Peale and Mather Brown; landscapes by the painters of the Hudson River School; classical realism by Winslow Homer and Thomas Eakins; Impressionism by Childe Hassam and William Merritt Chase.

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.

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

Thomas's production is informed by the classical genres of portraiture, landscape, still life, and the female nude.

I am inspired by two long - standing influences: abstract expressionist painting and classical music, which I orchestrate into landscape art using 3D animation software.»