Sentences with phrase «dialogue with nature»

A Dialogue with Nature: Romantic Landscapes from Britain and Germany The Romantic age was one of the great revolutionary epochs in art.

Taken together, these drawings exemplify Caspar David Friedrich's understanding of Romantic landscape draftsmanship as «a dialogue with Nature.»

Bradley Sabin's second solo exhibition at Callan Contemporary continues his complex dialogue with nature and the human form through the medium of clay: in Sabin's hands, it rises, breathes, blooms, floats, soars.

The National Gallery... 27Apr > A Dialogue with Nature: Romantic Landscapes from Britain and Germany.

Morgan Library & Museum: «A Dialogue With Nature: Romantic Landscapes From Britain and Germany» (through Sept. 7) With Johann Georg Wagner (1744 - 67), Caspar David Friedrich and J.M.W. Turner in attendance, this beautiful show contrasts drawings by German and British artists in a series of often stunning alternately exacting and flamboyant works, which were drawn from the Courtauld Gallery in London and the Morgan.

Emily Spicer reviews the exhibition A Dialogue with Nature: Romantic Landscapes from Britain and Germany at The Courtauld Gallery, London, on view through April 27, 2014.

Spicer writes that the «tendency towards introspection was a common theme in Romantic landscape art and, as A Dialogue with Nature illustrates, so too was the direct observation of the natural world... In the hands of the Romantic painters, however, landscape art took on a new depth of meaning... In the pursuit of accurate observations then, both German and British artists found common ground in a shared fascination with the most fleeting forces of the natural world.»

In 1990, the Ringling Museum of Art honored the artist with a solo exhibition, «A Dialogue with Nature.»

In the first of a series of collaborative exhibitions between the Courtauld's IMAF Centre for Drawings and the Drawing Institute of the Morgan Library & Museum, New York, «A Dialogue with Nature» presents 26 small watercolours, oil sketches and drawings which sing rather than shout of a new vision, forged in the furnace of war, revolution, and industrialisation.

«A Dialogue with Nature: Romantic Landscapes from Britain and Germany» is at the Courtauld Gallery until 27 April 2014, and will be on show at the Morgan Library & Museum, New York, from 30 May to 7 September 2014.

Each work is about man's continuous dialogue with nature, exploring how different materials and their metamorphoses can create a cosmic landscape.

English and German drawings engage in «A Dialogue with Nature,» before the untamed landscape of Théodore Rousseau and the Barbizon school.

«A Dialogue with Nature» ran at The Morgan Library through September 7, 2014, Théodore Rousseau through January 18, 2015.

A Dialogue with Nature offers the opportunity to consider points of commonality as well as the divergence between the two schools.

OC Ilya Prigogine and Isabelle Stengers, Order Out of Chaos: Man's New Dialogue with Nature.

Man's New Dialogue with Nature.

Order Out of Chaos: Man's New Dialogue With Nature.

O'Keeffe and Friends: Dialogues with Nature The Phillips Collection Through May 31 Georgia O'Keeffe's Jack - in - the - Pulpit No.

Not exact matches

(Part 2) Interactive Dialogue on Harmony with Nature during the commemoration of International Mother Earth Day - General Assembly, 72nd session

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I am someone who was fairly involved with the EC movement for several years, but I exited around 2010 — partly because I no longer resonated with the (what seemed to me) increasingly inbred nature of the dialogue, and because (probably more importantly for me) my trajectory was taking me beyond specifically post-Evangelical, emergent conversations, and into an exploration of higher consciousness in general.

``... the future of Christian philosophy will therefore depend on the existence or absence of theologians equipped with scientific training, no doubt limited but genuine and, within its own limits, sufficient for them to follow with understanding such lofty dialogues not only in mathematics and physics but also in biology and wherever the knowledge of nature reaches the level of demonstration.»

Artistic creation and appreciation, like the I - Thou relation with nature, are modified forms of dialogue which by their very nature can not be reciprocal.

Both of these thinkers tend to confuse the social nature of I - Thou with the social nature of I - It, the reality of true dialogue with the indirect togetherness of ordinary social relations.

I'm not sure where this leave us with where we can have any fruitful discussions on issues of this nature or if indeed any mutually respectful constructive dialogue can be had between us given our differing perspectives.

Though not directly stated anywhere, Peter Enns appears to be a proponent of the idea that the Bible is a library of books written by various authors from various theological perspectives, who are in dialogue with each other over the nature of God and what the human response to Him should be.

Dialogue with Asian views of nature such as Kukai's can foster the process of Western self - critical «consciousness - raising» by providing alternative places to stand and imagine new possibilities.

So one has to find a new pattern of ideologically pluralistic secular humanism and religiously pluralistic spiritual humanism entering into dialogue with each other on anthropology, the nature and meaning of being and becoming human.

There would be questions of systematic theology, for example those concerning the nature of justification, the validity, and knowledge, of the natural law within Christian morality, the possibility and recognition of an individual call coming directly from God to the conscience in a concrete situation, and the question of the relation of such: a call to universal moral principles, as well as many other questions with which the ecumenical dialogue will have to concern itself.

The real struggle in all religious communities is for spiritual reformation opening themselves to enter into dialogue with other religions and with secular humanist ideologies regarding the nature and rights of the human person and the meaning of social justice enabling to build together a new spiritually - oriented humanism and a more humane society.

My thesis is that the many visions of perfection are more or less the same or at least analogical, and therefore if each Faith keeps its ethics of law dynamic within the framework of and in tension with its own transcendent vision of perfection, the different religious and secular Faiths can have a fruitful dialogue at depth on the nature of human alienation which makes love impossible and for updating our various approaches to personal and public law with greater realism with insights from each other.

If each Faith keeps its ethics of law dynamic within the framework of and in tension with its own transcendent vision of perfection, the different religious and secular Faiths can have a fruitful dialogue on the nature of human alienation which makes love impossible and for updating our various approaches to personal and public law with greater realism with insights from each other.

Therefore, if this book is to be anything more than information on interesting occurrences in the past, more than a walk through a museum of antiquities, if it is really to lead to our seeing Jesus as a part of the history in which we have our being, or in which by critical conflict we achieve being, then this book must be in the nature of a continuous dialogue with history.

We would LOVE to dialogue with you if you have a question or concern of a medical or legal nature — that's what we're here for!

After some clunky expository dialogue about the nature of the wand that Voldemort has stolen and a sword that materializes when needed, we're off and running, with a plot hatched to break into the famed goblin bank Gringotts and destroy one of the remaining horcruxes — physical manifestations of Voldemort's splintered soul.

Almost non-stop hackneyed dialogue about the nature of art, delivered with bizarre accent and performance choices, in a cumbersomely arced dual narrative about the power of one - dimensional women to inspire and enable spectacular men.

This film, like others of its nature and era, gets a little bit carried away with its contrived, simplified portrayal of Ancient Rome, with sophisticated, but near - cheesily overblown dialogue, and character types.

While the satire is brilliant enough, the Coens make it even better with their signature style of idiosyncratic dialogue, and absurdist themes about the nature of life and crime.

It's clear almost immediately that the horror elements within the proceedings don't fare quite as well as moments of a more overtly dialogue - based nature, as director Karyn Kusama generally proves unable to infuse the story's horrific moments with any real sense of dread or terror.

The disjunction continues with dialogue scenes that flit between gags about turds, Cheers and douchebags and soppy / profound stuff about the true nature of fatherhood and friendship.

As countless other critics will tell you, The Revenant resembles a Terrence Malick film, with its sparse use of dialogue, dreamlike atmosphere, and extensive reliance on nature shots.

Director Kyle Henry, screenwriter Carlos Treviño and a wonderfully talented ensemble cast deliver a 21st century relationship time capsule of Rogers Park and some of the people who call it home — but this tightly scripted, dialogue - driven character study is also brimming with universal truths about the long - hidden but nevertheless permanent bruises of family tragedies, the changing and sometimes numbing nature of even a truly loving long - term relationship and the slow death of knowing one's dreams are almost certainly defunct.

Acted by locals with authentic conviction, the dialogue ringing idiomatic and magical, and full of respect for the power and majesty of nature, Sayles» film elaborated the artistry of cultural identity amid the vicissitudes of an industrial age.

It is also an engaging dialogue on the nature of 21st century romance, well written, with excellent performances.

The washed out colors, fuzzy focus, shots of nature, and muted emotions dotted with monotone dialogue are all elements of artsy films.

The effectiveness does serve to underscore the subpar, barely audible nature that some of the dialogue is saddled with.

However, given the film's nature, I can understand why 5.1 does «get the job done» with a somewhat even split of dialogue driven film versus scenes that could have greater benefited.

There's even a nice tinge of racism to the criticism, with repeated references to the «fortune cookie» nature of Wong's dialogue.

Berger's camera is rarely still, and Nicholls» script is layered with clever and sometimes very meaningful dialogue, all of which is reflective of its titular character's nature: Patrick is restless in body, mind, and soul.

But despite the heightened nature of the dialogue, Linklater makes you feel like you've spent time with real people in a real place that you'd love to visit again.

Find someone in your administration with whom you can have a dialogue about the nature of your disability and what could be an accommodation if your disability is to worsen.