Sentences with phrase «classicism for»

Change classicism for modernism and you will find several places that will exceed your romantic expectations.

Not exact matches

A great little online boutique for some inspo for just that visit Seersucker Sassy Boutique for some jewelry items that add that layer of classicism, but it isn't so over the top 1950s movie starlet.

for some jewelry items that add that layer of classicism, but it isn't so over the top 1950s movie starlet.

It is about classicism and elegance - with a hint of sporty attitude, and is easy to wear: fundamental notions of what the name Givenchy stands for.

Frankenheimer's reverence for the work of Wyler and Welles links him to the classicism of the late studio era, and yet in retrospect The Gypsy Moths and I Walk the Line anticipate the style and the concerns of the American New Wave.

It's a gloriously written film, with jokes that are crafted rather than excavated from reams of on - set improvisation1; the success of the punchlines is scattershot and up for debate (connoisseurs of the Borscht belt should find much to admire, but a rehash of Lloyd's lovesick daydream flatlines, due in no small part to an overestimation of the comic chops and kitsch appeal of Honey Boo - Boo's mom), yet there is something bracing about its structural classicism after the last few years of watching the Church of Apatow whack off.

Such identification is entirely in order, for movie classicism lies at the heart of the film's extraordinary purity and power.

In 1998, under the leadership of Executive Director Steve Jubb, BayCES changed its name to the Bay Area Coalition for Equitable Schools to emphasize our focus on addressing disparities among student groups that we believe arise from racism, classicism, language bias, and other forms of systemic bias.

For instance, classicism has been revived many times and found new life as neoclassicism.

Nature served as the inspiration for his sculptural works and his output was devoted to lyrical works of reclining female nudes and elegant stone faces and torsos influenced by Greek classicism as well as sculpture from Asia, the Pacific, and Africa.

It is the contradictions in his work which produce a kind of dynamism; mathematical vs. optical illusion, or psychedelic vs. classicism; a human framework for slippery concepts.

The Italian artist Claudio Parmiggiani worked as a studio assistant to Giorgio Morandi in the late 1950s, and seems to share his slightly twisted Classicism (though not his affection for paint).

They may look to Henri Matisse for their large fields of color, but without the classicism.

1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, Cfor Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, Cfor the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, Cfor Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CFor 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..

See, for instance, Classicism and Naturalism in Italian 17th Century Painting.

While each artist plays upon the past, Summer Breaks is meant to re-define classicism and bring forward contemporary work for viewers of a digital age, one free of convention.

Beginning and ending in a classical mode, this period encompasses some of the most important steps in his career: his traditional academic training, his early encounters with works by modern and Old Master artists, his creative interaction with pre-classical and tribal art, his invention with Georges Braque of cubism and papier collé, and his postwar alternation between cubism and classicism — the groundwork for all the developments in his later career.

Of special note are two concurrent exhibitions, one by the Romanian artist Geta Brătescu, which in its way shows a variant methodology for combining classicism with cartooning, deploying humor and a stylized visual wit; and another showing never - before seen latter - day works on paper by the iconic Louise Bourgeois.

The buildings of John Soane (1753 - 1837), the most original English architect of the period, share many of the characteristics of French Romantic classicism and particularly the taste for simpler forms, but they also owe much to the Picturesque and to Robert Adam's domestic work.