Sentences with phrase «classical landscapes in»

Tomislav Buntak's (b. 1971, Zagreb) delicate, large - scale, marker - on - canvas drawings depict classical landscapes in a stylized and unique manner.

Not exact matches

With classical WIMPs in a bind, theorists have started expanding their descriptions of the particle, creating a sprawling landscape of WIMP - like alternatives.

From high in the north - west all the way down to Crete, we reveal a Greece that defies the cliches, taking you through classical landscapes and natural wonders, hidden islands and amazing wildlife, as you explore this ancient, magical country.

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 166In 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 166in 1667.

The Royal Pita Maha offers 24 traditional Balinese Villas that are nicely landscaped in the style of a classical Balinese village giving an atmosphere of classical Balinese village.

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).

Classical motifs and subject matter in portraits, still lifes and coastal landscapes were his main thematic areas and genre

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.

The textile's image reflects the «ongoing interest in classical mythology and the stories, magic, and colour of the Trinidadian landscape he inhabits.»

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

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-...]

In a statement, Thomas's newest dealer described her rhinestone - embellished works thus: «Drawing from a long study of art history and the classical genres of portraiture, landscape and still life, Thomas» political and pop - culturally infused imagery explores constructed notions of identity and the self.

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.

With classical skill — and through transparency, depth and texture — she captures the minute details of everyday objects in her dramatic still lifes and luscious landscapes.

In the next phase, Osborne paired classical Vanitas - type subjects with patterned interiors or tranquil sea and sky landscapes.

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.

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.

In terms of content, these painters are all over the board, ranging from more classical subjects like landscapes and portraiture to «pure» abstraction without any clear real - world referent.

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 Oct. 15 and runs through Jan. 8, 2017.

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.)

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.

The imagery in this new tapestry reflects Ofili's ongoing interest in classical mythology and contemporary «demigods», together with the stories, magic and colour of the Trinidadian landscape he inhabits.

Wesselmann became one of the leading American Pop artists of the 1960s, rejecting abstract expressionism in favor of the classical representations of the nude, still life, and landscape.

Unlike these others, he left America early in his career to live and work in Italy, where he has drawn inspiration from European literature, classical culture and the Italian landscape.

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.

This program is aimed at artists in every artistic discipline: Architecture / landscape / urbanism, street arts / circus / puppets, digital arts, visual arts, comics, cinema / movies / video, curating projects, dance / performances, design, literature, youth book, fine arts and crafts, modern music and jazz, classical and contemporary music, contemporary art performances, photography, theatre, musics for films and video games.

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.

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 textIn 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 textin 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 artistIn 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 artistin 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.

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.

Opie shot to fame in the 1990s with her classical portraits of lesbian, gay and transgender figures, as well as her beautiful landscapes.

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.

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

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.

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.

Repeating motifs depicit traditional Chinese clouds, as seen in classical ink landscapes, along with elephants, a recognizable symbol in Southeast Asia.

The vision for the tapestry «reflects Ofili's ongoing interest in classical mythology and the stories, magic, and colour of the Trinidadian landscape he inhabits.»

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.

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.