Sentences with phrase «commercial illustration»

He was accepted with a scholarship, and enrolled in commercial illustration classes.

As well as working on commercial illustration work, she's delivering workshops globally and an exhibiting fine artist.

It has borrowed from commercial illustration and architectural, tattoo, and textile design, and exhibited itself as sculpture or in various combinations of all the above, in both abstraction and representation.

The figures draw just as much on old commercial illustrations as on fine art, and they seem all the more remote and familiar because of it.

I wanted to work that was not driven by the goals inherently connected to commercial illustration though, so I made the shift.

Pop art Style derived from the popular culture of the 1960s, including commercial illustration, comic strips, and advertising images.

Influenced by the happenings staged by Allan Kaprow, George Segal, Claes Oldenburg, and others, which incorporated everyday objects and popular culture, Lichtenstein turned to an entirely new imagery culled from the contemporary world of advertisements and comic books and adopted the graphic techniques of commercial illustration.

Not throw - away commercial illustration material.

Thanks to military service during World War II and the subsequent GI Bill, he studied commercial illustration and painting at three area art schools — Otis, Art Center and Chouinard.

Incorporating a fresh and optimistic stylistic approach, Brosmind blends fantasy and humour, combining commercial illustration with personal projects involving multiple disciplines, such as sculpture, music or video.

Covering the breadth and scope of Warhol's prolific career, ANDY WARHOL: TALKING POP explores the legendary Pop Art icon's artistic ingenuity and importance - from his early commercial illustrations of the 1950s such as Love is a Pink Cake and Tattooed Woman Holding a Rose to his iconic portfolios such as Myths of the 1980s.

Created during the early and mid-1960s, the fifty - five drawings on view offer a revealing window into the development of Lichtenstein's art, as he began for the first time to appropriate commercial illustrations and comic strips as subject matter and experimented stylistically with simulating commercial techniques of reproduction — the famous Benday dots.

Mr. Jago's early style that he explored during the nineties into the new millennium has undergone a prolonged and continuous process of abstraction and has evolved deliberately into his current way of working; the droid - like figures of his formative, commercial illustration slowly enveloped in ever - deepening layers of colour and shade.

ALEX ISRAEL — In addition to making art you were doing commercial illustration and working as a music - video director.

After he graduated high school in 1899, his parents, though supportive of his artistic ambitions, encouraged him to pursue commercial illustration.

Inspired by Olympia Press, the Paris - based publisher founded in 1953, renowned for its avant - garde and erotic literary fiction, the exhibition explores correlations between commercial illustration and fine art, including works from artists such as Rita Ackermann, Carol Bove, Louise Bourgeois, Carroll Dunham, Mark Grotjahn, Wade Guyton, Lee Lozano, Steven Parrino, Pablo Picasso, Sigmar Polke, Richard Prince, Ed Ruscha and Tom of Finland.

In 2008 James Jean has stopped working on commercial illustration and turned his focus almost completely on painting.

In 1903, David Milne (1882 - 1953) arrived in New York as a twenty - one - year - old pursuing a career in commercial illustration.

Masters of commercial illustration — Charles Dana Gibson, J.C. Leyendecker, and Norman Rockwell — were possibly the only ones free from controversy, and thus left to create iconic and timeless images that transcended their initial purpose, becoming a part of a collective idea of American aesthetics.

Taiwanese artist James Jean is internationally acclaimed for his fine art paintings and commercial illustration work for which he has garnered several renowned awards.

Since graduating from NYC's School of Visual Arts, he's spent every waking moment staving off sleep and exhaustion to pursue both his commercial illustration and fine art career.

During the mid-1970s, Abstract Illusionism — a showy amalgam of The New York School, Pop Art, commercial illustration, and trompe - l'oeil painting — was, if not the rage, then notable enough to elicit its fair share of adherents and collectors.

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

In the 1950's Lichtenstein painted in a style derivative of Abstract Expressionism, with subjects that ranged from reproductions of famous paintings to commercial illustration.

These artists utilize fractured letterforms, emojis, trademarks, commercial illustrations, and icons in a process that dismisses linear narrative in favor of non-hierarchical structures of language.

The most feral of the Ferus Gallery Cool School, Altoon's influences ranged from abstract expressionism to surrealism to commercial illustration — but transmuted through his art, you feel as if they belong to him exclusively.

Paintings, drawings, commercial illustrations, sculptures, prints, photographs, wallpapers, sketchbooks, and books cover the entire range of Warhol's career, from his early student work to pop art paintings and collaborations.

Johnson rarely makes unique objects, instead creating photographic editions that are defined by their humor and rely heavily on stylistic elements such as animation, graphic design, commercial illustration, and advertising.

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.

Warhol's largest body of commercial illustrations was produced for I. Miller & Sons, a shoe manufacturer and retailer that employed him to create large - format advertisements for The New York Times between March 1955 and December 1959.

By then de Kooning saw the alternatives as mutually exclusive, and he wanted his commercial illustrations destroyed, because «they come back to haunt you.»

These factors, combined with Tobey's non-demonstrative personality, the small scale and delicacy of his works, his background in commercial illustration, and his distance both geographically and temperamentally from the New York School, counted against him.

Kunath's new paintings offer even more ambitious equations, with single picture planes, including variables as diverse as history painting, still life, comic book imagery, commercial illustration, nature photography and lyrical references.

Blotted line allowed him to create a variety of illustrations using the same initial pattern, important to his commercial illustration career when he could bring several ideas to clients.

Ample, blank space is allowed within the compositions and dark shadows around forms are emphasised, a technique used in commercial illustration, which Thiebaud also studied.

The work they produced in the»70s and early»80s might be described as a theatricalization of Conceptual art, or a caustic mimicry of both fine art and commercial illustration.

Murakami's «superflat» style, reminiscent of Pop art, is an ironic take on Japan's tradition of commercial illustration, with its penchant for cute animals and candy - colored optimism.

It instead devours much that has come before and during its creation: Veronese, Rubens, Picasso, Stuart Davis, Matisse, Mondrian, Ab Ex, Pop, sign - painting, advertising, commercial illustration.

Both styles have been impersonally rendered through Lichtenstein's meticulous duplication of the look and techniques of commercial illustration.

Segal's empathetic portrayals of people, however, set him apart from his Pop art peers, who often based their figures on the highly stylized techniques of commercial illustration.

Minton remains a peripheral figure in post-war art history, but Martin Salisbury's The Snail that Climbed the Eiffel Tower and Other Work by John Minton proves that he was a master of commercial illustration.

Bauer was initiated into Der Sturm (The Storm) circle around 1915 and, with his participation in a number of group exhibitions, began to put aside his commercial illustration work in favor of painting.

Born in 1920 in Mesa, Arizona and raised in Long Beach, California, Thiebaud originally intended to devote his career to commercial illustration, inspired by popular cartoons and comic strips, such as George Herriman's Krazy Kat.

These blend with common source materials like comic books and commercial illustration.

Over the next two decades, as well as practicing fine art, he also wrote about it and earned money from the commercial illustration and caricature art which he produced for a host of New York newspapers, magazines and periodicals, including ARTnews and PM.

This early period was one of close association between Warhol and Pearlstein as they were fellow students, roommates in New York, and enthusiastic artists working in commercial illustration.

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