Sentences with phrase «combines classical painting»
Filomeno's practice combines classical painting with the traditional craft of embroidery; the results defy and transcend both.
http://www.galerielelong.com/ Not exact matches
wax painting The resource includes: Examples of architectural artists Examples of a student work collages of architecture Resource sheets of architectural photographs of churches to use for studies Resource sheets of different buildings ornamentations to use in collage Learning Objectives To develop a Classical Greek and Roman element in one's work of art at KS3, KS 4 - GCSE Art and A-level Art To study various examples of how artists have used these classical architectural elements in their works of Art A look at various contemporary artists and how they have used the Classical elements and architectural features To develop a collage combining photographs, painting and Classical Greek and Roman element in one's work of art at KS3, KS 4 - GCSE Art and A-level Art To study various examples of how artists have used these classical architectural elements in their works of Art A look at various contemporary artists and how they have used the Classical elements and architectural features To develop a collage combining photographs, painting and classical architectural elements in their works of Art A look at various contemporary artists and how they have used the Classical elements and architectural features To develop a collage combining photographs, painting and Classical elements and architectural features To develop a collage combining photographs, painting and pen work.
In an interview with Artspace, Indiana notes that he began to combine his graphic text painting with classical sculptural forms once he left his urban environs: «How could I resist?
As a self - professed «classical modernist,» Quaytman's paintings are characterized by his combined interest in shape, color, line, geometric pattern, and surface texture.
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.
Formerly in the collection of Jacques Doucet, it is one of a series of paintings Picabia made between 1921 and 1923 in which the ancient ideal of classical beauty is combined with geometric abstraction, and it is housed within its original Pierre Legrain frame.
Xie Molin combines two traditions in his machine - generated abstract paintings: his classical training in fine arts and his use of a tri-axial linkage painting machine, continuing his father's legacy as an engineer.
David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.
Combining classical influences with Neo-Expressionist features and processing themes such as sexuality, obsession, suffering, death and belief, Schnabel plays with both abstraction and figuration with the use of found materials, fragments of language, paint, and digital reproduction.
Artist Eisen Bernardo combines well - known classical paintings with album covers for his collection of «mashups».
This, combined with constant inspiration drawn from classical comic book imagery, pop art and American cinema (especially the horror genre), as well as the aesthetic of classic prints (Durer, Goya, Daumier, Kathe Kollwitz, etc.), creates Hancock's unique approach to collaged painting.
Formerly in the collection of Jacques Doucet, the former owner of Picasso's Demoiselles d'Avignon, it is one of a series of paintings Picabia made between 1921 and 1923 in which the ancient ideal of classical beauty is combined with geometric abstraction, and it is housed within its original Pierre Legrain frame.
Combining oil painting and textile collage, the colour palette is very much inspired by a 19th century approach, with Fritz Bornstück working like an impressionist in the field, while at the same time turning the works around to pull them in a decidedly more contemporary direction, inflicting contrasting architecture and items on the classical compositions.
Lord Frederic Leighton (1830 - 1896) combined opulently coloured classical paintings with highly influential sculptures.
His idiom combined «low» art methods (graffiti - like pencil / crayon doodlings; all - over painting technique) with «high» art references to Classical Antiquity (reminiscent of Arte Povera), the Italian Renaissance and French Neoclassicism.
Committed to creating paintings that were intimate and grand, timely and timeless, Gottlieb combined Abstract Expressionist dynamism with Classical restraint.
Often working with industrial materials — painted wood, paving slabs, plastic cord, metal fencing and corrugated iron — her installations have a seemingly improvised and temporary attitude, but are rigorously considered, combining an almost classical formalism with a kinetic energy generated by poised, provisional and precarious compositions and her attuned use of materials.
Originally exhibited as part of the 2012 Whitney Biennial, Hearsay of the Soul combines footage of the paintings and prints of the Dutch Golden Age artist Hercules Segers (c. 1589 — c. 1638) with a contemporary classical score composed and performed by Ernst Reijseger.
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.
He was also especially drawn to the decorative paintings of Theodore Chasseriau, whose style combined the classical linear composition of J.A.D.Ingres and the colour of Delacroix, and who would be the model for several of his later works.