Sentences with phrase «depict human figures»

In her paintings, Gina Malek does not just depict human figures in moments of physical action or tension; she transmits physicality directly through her mark - making.

His most well - known works are monumental, sculpture - based public art pieces as well as palm - sized sculptures, which often depict human figures, critique American society by addressing race, sex, class and money.

However many eons later, circa C.E. 2089, paramour archeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall - Green) discover a cave etching depicting a human figure pointing toward a cluster of stars.

Balkenhol is renowned for his technical prowess in depicting the human figure through the medium of hand - carved poplar or wawa wood.

Diebenkorn often said how much he owed to European painting and the debt is acknowledged here, in the second room of the show, in big works depicting human figures framed in landscape — on a terrace, at a window — or secluded in shady interiors, in placid unanimity with their surroundings, sunken - eyed, reading, or lost in contemplation.

The works in the exhibition demonstrate Hockney's longstanding dedication to painting and to depicting the human figure.

The work ranges from that of Sophie Calle and Rineke Dijkstra to Marlene Dumas and Julian Opie, tracing the varying and sometimes radical strategies of artists working today to depict the human figure in its many forms.

David Hockney: Some New Painting (and Photography) at 508 West 25th Street features works that demonstrate Hockney's longstanding dedication to painting and to depicting the human figure.

Elizabeth Peyton works mostly with small - scale portraits, inspired by the traditional approach to depicting a human figure and personality pioneered by photographers like Felix Nadar and Alfred Stieglitz.

All of the drawings included in this exhibition depict the human figure, and while each artist has his or her own distinctive style, the works share a common sensibility: an intense interest in capturing the human form and spirit.

Over the course of his long - career, the New York / Connecticut - based painter has been creating works that depict the human figure in ways that are poetic and ribald.

He often depicts human figures traversing through geometric environments, which are reflective of the «eternal present».

Explore different approaches to depicting the human figure through the work of five great British artists

Not exact matches

In one panel surveyed, a motif of a flautist surrounded by other human figures probably depicts part of an indigenous rite of renewal.

In keeping with Islamic tradition, the designs never depict human or animal figures.

Set 15 years after the outbreak of the plague that wiped out a significant amount of the human population, the narrative depicts Caesar (Andy Serkis) seeking vengeance for the brutal slaughter of his wife and child at the hands of a mythical figure known as The Colonel (Woody Harrelson).

John Hartley Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

Both artists depict small human figures against large, and largely empty, cityscapes.

Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

This can be seen in the sinister skeletons of Jackson Pollock's series Untitled Panels A — D (1934 — 38), the architecture depicted by Mark Rothko in Interior (1936), and the Philip Guston work The Porch (1946 — 47), where the human figure seems to be threatened and takes on a macabre tone clearly influenced by the Holocaust.

The artist best known for his flattened approach to the human figure takes his signature aesthetic into sculpture with «Cut Outs,» a solo exhibition of four works depicting Katz's wife Ada, the full set of his nine - piece «Black Dress» series, and one larger, multifigure work, all rendered in stainless and porcelain enamel coated steel.

Alex Katz «Cut Outs» Paul Kasmin 515 West 27th Street CLOSES: April 12 The artist best known for his flattened approach to the human figure takes his signature aesthetic into sculpture with «Cut Outs,» a solo exhibition of four works depicting Katz's wife Ada, the full set of his nine - piece «Black Dress» series, and one larger, multifigure work, all rendered in stainless and porcelain enamel coated steel.

As many of the pieces that she donated depict figures in various forms and poses, her collection also displays a diversity of representations of the human body.

Referencing both a human figure and «the spirit of a bird,» as the artist says, this dark, abstracted form depicts a bird in the corvid family, which includes grackles, crows, and ravens, common in large cities around the world.

Her non-narrative video and multi-screen moving - image works, broadly addressing themes of history, humanity and time, depict unidentifiable human figures in movement within a landscape.

In these identically sized paintings, he depicts his own artistic impulse, filling them with his own emotion, rather that the visages of human figures.

The multicultural environment and various racial experiences of immigrants in the United States are depicted through her ceramic and gold luster works Intercontinental Migration and Entangle, which incorporate expressive yet atypical and sometimes distorted forms of human figures.

In these works, the human figure is depicted in a variety of ways.

In an effort to share their dreams with the world, they depict their visions in surreal paintings, sculpture, and installations: human figures with removable faces, exploding bursts of color, and room - size heads installed with shanty interiors.

The Figure: Movement and Gesture focuses on the movement of transformation from figuration into abstraction and the complex ways that de Kooning depicted motion as he rendered the human fFigure: Movement and Gesture focuses on the movement of transformation from figuration into abstraction and the complex ways that de Kooning depicted motion as he rendered the human figurefigure.

The Body Art and Performance Art movements revolved directly around the human form — for example, Ana Mendieta's Silueta Series consisted of images of landscapes into which Mendieta carved her own figure, referencing the female form and feminine power without explicitly depicting them.

Ruznic's vivid paintings speak for themselves, depicting figures that seem to emerge from the caverns of human history, from within their own supports, and somehow from within the viewer's own recollections.

Exhibition highlights include: two ornate, figurative paintings by Australian artist Del Kathryn Barton; three large - scale, realist paintings by Terry Rodgers portraying gaunt and privileged youth; conceptual portraits by Swedish artist Sara - Vide Ericson; a mixed - media fragmented figure by Brooklyn - based artist Nathaniel Mary Quinn; four small - scale sculptural works depicting contorted human forms by Korean artist Dongwook Lee; and one large - scale surrealist drawing by German artist Dennis Scholl; among others.

Additional works in the exhibition include Thirty - eight works by Andy Warhol, four bronze sculptures depicting figures who are part human, animal and machine by William Kentridge illustrating social and political life in South Africa; and Olafur Eliasson's Fivefold Sphere Projection Lamp which compels us to view ourselves in relation to space as well as time.

Using the shadow - subjects of cyanotypes and the full body casts of sculpture - figures, the artist records a rapidly disappearing street life: Depicting the hyper — realist, monumental nature, of urban «survivors» — both human and vegetative — he steadfastly chronicles big city change and traces what remains.

As Renato Barilli of the University of Bologna said: «The most striking aspect of Mario Sughi's work to date is his profound love of the human figure, and of its description, in depicting the thousands of occasions when our bodies are on show, whether in public or in private.

To use the term invokes particular values: admiration of past accomplishments; identification of the human figure with beauty and meaning; the importance of carefully observing and depicting the visible world.»

Primarily focusing on female figures and their subjectivities, Báez's paintings and drawings depict textiles, hair designs, and body ornaments that link traditionally loaded symbols with individual human gestures.

Rooted in a fascination with the human form, Wardell Milan's works on paper frequently depict boxers or bodybuilders, displaying figures in contorted states or pushed to the extreme.

The representation of the human figure has been a part of art history as long as paint has been used to depict images from the natural world.

Most notable are his sculptures Figure IV, the masks series, and his painting Cobalt Racer, which all take the human form as their subject matter and showcase Oliveira's celebrated predilection for depicting bodies in various states of movement.

The figures depicted, historical or imagined, animist or human, all have a sense of pride, marked by a defiant liveliness.

The exhibition presents the work of leading painters who, since World War II and up to the present day, worked in London and depicted the city's human figure, landscape and everyday reality, with their own distinctive and personal vision.

«The earliest known drawings and sculptures depicted human and animal figures.

His intimate works penetrate to the core of human integrity, often depicting images of figures wrenched in that critical space where the strained coordination of mind, body...

Working across printmaking and drawing, she observes the human figure and depicts it with expressive force.

At about five - and - a-half feet tall, the sculptures depict headless human figures as a crowd — a subject the 85 - year - old Polish sculptor and fiber artist has been perfecting since the 1970s.

Bradford describes his practice as «social abstraction,» a contradiction in terms: works absent of human figures that instead depict he crisis of the human condition.

Humans have been making figures or depicting people in the visible world since the dawn of time.

Also in the exhibition is The Village and its Ghosts (2014), a 60 - foot - long scroll that depicts the movement of ghosts, folkloric humans, hucksters, animal hybrids, skeletons and other figures within a classically limned landscape.