Sentences with phrase «early modern paintings»

The Barnes holds one of the finest collections of Post-Impressionist and early Modern paintings, with extensive holdings by Pierre - Auguste Renoir, Paul Cézanne, Henri Matisse, Pablo Picasso, Henri Rousseau, Amedeo Modigliani, Chaim Soutine and Giorgio de Chirico, as well as American masters Charles Demuth, William Glackens, Horace Pippin and Maurice Prendergast, Old Master paintings, important examples of African sculpture and Native American ceramics, jewelry and textiles, American paintings and decorative arts and antiquities from the Mediterranean region and Asia.

The Barnes holds one of the finest collections of post-impressionist and early modern paintings, with extensive works by Pierre - Auguste Renoir, Paul Cézanne, Henri Matisse, Pablo Picasso, Henri Rousseau, Amedeo Modigliani, Chaim Soutine, and Giorgio de Chirico; old master paintings; important examples of African sculpture; Native American ceramics, jewelry and textiles; American paintings and decorative arts; and antiquities from the Mediterranean region and Asia.

«The Barnes is not only home to world - renowned Impressionist, Post-Impressionist and early Modern paintings, but also an incredible collection of African sculptures, masks and tools — 125 in total.

During that trip, a slew of Old Master and early Modern paintings in European museums made a strong impression on the young artist.

STRENGTH AND SPLENDOR: WROUGHT IRON FROM THE MUSÉE LE SECQ DES TOURNELLES Nearly 900 door knockers, escutcheons, locks, keys, signs and other objects made of wrought iron from a renowned collection in Rouen, France, mirror the Barnes's quirky installation of antique metalwork next to early modern paintings.

He called this work The Drain, and it is a piece emblematic of a «cinematographic» style that he developed across many series, which are overly allegorical, full of suggested narrative and allusions to both history painting and scenes from early modern painting.

Home to one of the world's finest collections of impressionist, post-impressionist, and early modern painting — including the largest groups of paintings by Pierre - Auguste Renoir and Paul Cézanne in existence — the Barnes brings together renowned masterworks by such artists as Henri Matisse, Pablo Picasso, Amedeo Modigliani, and Vincent van Gogh, alongside ancient, medieval, Renaissance, and non-Western art as well as metalwork, furniture, and decorative art.

Dunham advances that in the mid-70s, Murray «rehabilitated discarded structures from earlier modern painting: The biomorphic silhouettes of Arp, the pulsating Platonism of the later Kandinsky, and the spatial fractures of Stuart Davis colonial Cubism were all hovering just offstage, present if not fully accounted for.»

Not exact matches

Volume XVI, Number 2 Science and the Humanities; The Great Rift in Modern Consciousness — Douglas Sloan What Stands Behind a Waldorf School — David Mitchell On Earth as It Is in Heaven: The Task of the College of Teachers — Roberto Trostli The Plight of Early Childhood Education in the U.S. — Joan Almon The Art of Knowing — Jonathan Code Painting from a Palette Entirely Different — Johannes Kiersch Authenticity in Education — Elan: Leibner Soul Breathing Exercises — Dennis Klocek

Rather, the finding that Neandertals apparently wore mollusk shells as jewelry and used them as paint containers offers insight about the social conditions under which symbolism flourished among early modern humans but was rare among Neandertals.

From his early films Benny's Video (1992) and 71 Fragments of a Chronology of Chance (1994) to his Palm D'Or and Academy Award winning Amour (2012), he has used cinema to paint a portrait of humankind alienated in modern society, lacking in compassion at best and utterly amoral at worst.

The Elan's wedgy styling as long been an acquired taste but there's some visual interest here with the British Racing Green paint scheme and an oh - so - Lotus yellow stripe down the centreline of the car, while the cabin is more modern than those early MX - 5s and far more cossetting than that of the Elise that replaced the Elan in 1996.

Since the early days, the Welsh Terrier, or simply Welshie, has not changed much if at all — the modern breed closely resembles dogs depicted in early paintings and prints.

NEW YORK — Several works in the 19th - century European paintings sales garnered strong prices at a typically quiet auction - market period that stretches from the end of the major, early, May New York auctions to the start of the London Impressionist, modern and contemporary art auctions each June.

Ann Temkin, the chief curator of painting and sculpture at the Museum of Modern Art, explained her early fascination with Mr. Guyton's work.

Meanwhile her painting was eventually widely celebrated in the early 80s, when she exhibited at the Hayward Annual, had a solo show at the Museum of Modern Art in Oxford, and a retrospective at the Serpentine Gallery.

The earlier styles of non-objective painting also became less fashionable, focusing more on making a modern world rather than on how dismayed or thrilled they felt to live in it.

In this lecture, John Elderfield, The Marie - Josée and Henry Kravis Chief Curator of Painting and Sculpture, The Museum of Modern Art, New York, will explore the significance of Diebenkorn's early work in New Mexico.

Next to Nothing presents a group exhibition that revisits early Modern figurative painting and Symbolist poetry through the recent work of 12 contemporary artists.

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

An amazing collection of paintings and other works from the Centre Pompidou, Paris, traces the development of this extraordinary and inventive artist, from his early figurative works to his most modern pieces.

Untitled III carries over the shift in texture from opaque to virtually transparent tonality in the greys and blues in particular, as if the artist had absorbed the style of Sumi - e brush painting, as for example in the lithograph owned by the Museum of Modern Art, Wah Kee Spare Ribs, 1970, a medium with which de Kooning was preoccupied in the early years of the decade.

The contrast between the reclaimed «artistic» waste and the richness of the paint highlights a dynamic tension between Ruby's contemporary practice and the early - modern belief in the supremacy of «pure artistic feeling» over the visual depiction of objects.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Walk into your prototypical observational painter's studio and you are likely to find monographs from modern painters such as Edwin Dickinson and Giorgio Morandi side by side with books on early Renaissance masters Masaccio and Piero della Francesca, as well as a tome filled with the prehistoric cave paintings from Lascaux.

Treanor adds that there may have been fewer female artists working in abstraction because, in the early modern period, women were steered toward still - life painting or portraiture.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Self - taught in the early career in the mid-1950s, Ludolf was a student of Ivan Serpa Free Course in Painting from the Museum of Modern Art in Rio de Janeiro (MAM - RJ).

One of my heroes is Charles Sheeler, whose early 20th century paintings of new massive industrial plants were like proud birth announcements for modern industry.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

The use of images of the modern world, copied from magazines in the photomontage - style paintings produced by Harue Koga in the late 1920s and early 1930s, foreshadowed elements of pop art.

The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital manipulation and darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.

In l968, she had an early break when her painting William Clark was included in the innovative exhibition Art of the Real at the Museum of Modern Art: this, at 28ft long, was her first large - scale line painting.

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

«Painting with Light» at Tate Britain 11 May Currently on view at Tate Britain, «Painting with Light: art and photography from the Pre-Raphaelites to the Modern Age» is an expansive new exhibition spanning over 70 years and exploring the symbiotic and sympathetic early relationship between photography and art.

On the event of the exhibition David Milne: Modern Painting, running at London's Dulwich Picture Gallery from 14 February — 7 May 2018, fellow Canadian artist and Photo London Master of Photography 2018 Edward Burtynsky discussed with exhibition co-curator Sarah Milroy the extraordinary legacy of Milne's work and the relationship between the painter's pictures and Burtynsky's early photographs.

Hitchens's art typifies the fusion of modern painting principles and earlier British art.

It juxtaposes references ranging from very early paintings depicting paradise to modern paintings of industrial times, references Nietzsche as well as Bob Dylan, and shows the striking similarities of symbols found in Mitla Oaxacan pyramids with that Atari video game icons.

This presentation of masterworks and experimental pieces from SFMOMA's collection of painting and sculpture explores themes that have shaped the history of modern art from the early twentieth century to our own time.

Just as important, this painting is not an early modern balancing act, with this strip here offsetting that strip there.

He showed an early talent for painting, studying at Black Mountain College in North Carolina — one of the first American colleges to hire major modern artists as faculty members.

«Pollock's extraordinary, still controversial black paintings of 1951 finally get the attention they deserve; they prove to be just as radical as his earlier, more celebrated all - over drip paintings, and speak even more to our own time as well,» said John Elderfield, Chief Curator Emeritus of Painting and Sculpture, Museum of Modern Art.

In 2010, Baldessari was awarded a retrospective at the Tate Modern, London, in which his early combination of text and images in paintings were explored with the artist's air of wit, ironically mocking the conceptual art and yet delivering it.

In 1952, Ryman relocated to New York where he made his first paintings while working as a security guard at the Museum of Modern Art in New York in the early 1950s.

Malevich at Tate Modern brings together the artist's early paintings of Russian landscapes, agricultural workers and religious scenes with his abstract and Suprematist compositions.

Great French Paintings from the Barnes Foundation: Impressionist, Post Impressionist, and Early Modern

The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract paintings, sculptures and installations.

The early part of the collection features French and Russian art from the beginning of the twentieth century, cubist paintings and superb holdings of expressionist and modern British art.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Tate Modern will present the first UK retrospective to assess the breadth of her vibrant artistic career, from her early figurative painting in the 1900s to her energetic abstract work in the 1960s.