Sentences with phrase «early canvases such»

Inspired by the art of Paul Cézanne, Henri Toulouse - Lautrec and Pablo Picasso, Modigliani began to experiment and develop his own distinctive visual language, seen in early canvases such as Bust of a Young Woman 1908 (Lille Métropole Musée d'Art Moderne, Villeneuve - d'Ascq) and The Beggar of Leghorn 1909 (Private Collection).

Not exact matches

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

John Yau, however, recently noted that the forms in Held's early 60s paintings, such as The Yellow X, extend beyond the picture plane, creating an awareness of the environment beyond the canvas edge.

While early practitioners such as Robert Mangold embraced a minimal sensibility, the next generation of artists such as Elizabeth Murray and Ralph Humphrey further evolved the practice; Murray's canvases are explosive and energetic, and Humphrey's paintings are tactile, with thick and textured surfaces.

Further, in this series of works on paper, of which Wine, Rust, Blue on Black is a prime example, the punctuation of blue recalls earlier multiform canvases, such as Untitled (Multiform), 1948.

From his earliest days as an artist, Rauschenberg avidly explored and invented myriad ways of marking paper and canvas, using traditional tools such as paintbrushes, pencils, and woodcut blocks as well as highly unorthodox methods.

Displays have included canvases by early modern masters such as Picasso and Braque, Dada and Surrealist pieces by Duchamp and Ernst, and contemporary work by Simon Starling.

Robert Irwin, who began his career in L.A. in the late fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to such an installation early next year).

Along with the White Paintings, which Rauschenberg completed in 1951, the Black paintings signaled the young artist's awareness of the status of the monochromatic canvas within the lineage of modernist painting, particularly as it was developing in the late 1940s and early 1950s at the hands of artists such as Barnett Newman (1905 — 1970), Franz Kline (1910 — 1962), and Willem de Kooning (1904 — 1997).4 Although the White Paintings and the Black paintings explored related formal strategies, the Black paintings in particular have been read as a response to the innovative rethinking of the monochrome that was occurring in those years.

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

In the early 70s, Bowling created a mechanism to pour paint directly onto canvas, mixing and manipulating colours and textures to create Poured Paintings such as Curtain (1974) and Lenoraseas (1976).

Although as early as 1979, graffiti artists Lee Quinones and Fab 5 Freddy were exhibiting in galleries, it was not until the 1980s that artists such as Keith Haring and Jean - Michel Basquiat began to be widely recognized by institutions, critics, and collectors, creating work that applied the styles they had cultivated on the urban fabric onto canvases and prints.

His modular paintings (first shown in the exhibition Kurgan Waves, at the Canada gallery, New York, in 2006) are composed of single - color canvases installed to create geometric, often overtly figural forms, such as the long - legged, slicker - and - galoshes - wearing The Fisherman's Friend from 2005, one of the earliest works in the exhibition.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

The artist was inspired to give his canvases such a rough texture after seeing a gravel - coated sculpture by Picasso at the Nasher Sculpture Center while on a residency in Dallas earlier this year.

While shows such as the Tate's 2010 «Art and the Sublime» chose the more marketable monumental expressions of the Romantic Sublime — the huge canvases of John Martin or Francis Danby — this exhibition chooses to focus on what curator Matthew Hargraves describes as the «quiet transformation» of landscape in the late 18th and early 19th century.

By this time, Vigas had created such signature early pictures as Composición IV (Composition IV, oil on cardboard, 1944), with its melding of abstract forms, layered Cubist pictorial space and a palette recalling that of Old Master canvases.

Alongside important early works such as «A Thousand Years» (1990), «With Dead Head» (1991) and «Loving in a World of Desire» (1996), «Requiem» featured the first exhibition of works from Hirst's series of oil on canvas «Blue Paintings», which he had begun in 2006.

However, as Family Picture, a number of his self - portraits, and later works, such as the triptych Departure (1932 — 33) and Paris Society (1925, 1931) show, Beckmann's canvases don't just present the viewer with a feast of social malaise, they also attest to spatial dislocation, implying how the horrors of Europe's early - 20th century distort one's ability to see the world.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

Gorchov became a strong artistic force in the late 1960s and early 70s within a group of Manhattan - based abstract artists, such as Frank Stella, Richard Tuttle, Blinky Palermo and Ellsworth Kelly, who rejected the ubiquitous rectangular canvas in favour of new shapes and configurations.

The early works prepare the way for such important paintings as Hemlock (1956), Ladybug (1957), and George Went Swimming at Barnes Hole, But It Got Too Cold (1957), large - scale works that signal Mitchell's energetic yet controlled mastery of oil paint on canvas.

When he emerged in the early 1960s with his masterfully conceived and intricately constructed shaped canvases, Lukin, along with peers such as Charles Hinman and Richard Smith, was hailed for crucially expanding «hard - edge» abstraction, proposing a painted presence that metastasized into sculpture.

Although Piper's early and student work made use of traditional fine art media such as paint and canvas (such as The Body Politic, 1983), [3] from the late 1980s he became primarily associated with technically innovative work that explored multi-media elements such as computer software, websites, tape / slide, sound and video within an installation - based practice.

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

Appearing crudely fashioned, from textiles such as canvas and twill tape as opposed to the more familiar industrial black rubber, these early masks — which Smith first encountered while visiting the Musée de l'Armée in Paris — struck her as meticulously, even lovingly, crafted, yet also functionally inadequate to their task.

Despite the fact Martin did her best to seek out and destroy paintings from the years when she was taking her first steps into abstraction, the exhibition features examples of her experimental early practice — such as The Garden from 1958, for which she glued rows of found objects onto a background canvas.

The current exhibition of paintings, watercolors, and prints by Sylvia Plimack Mangold at Alexander and Bonin (March 16 — April 28, 2012) got me thinking once again about the different kinds of spaces she has constructed in her work, beginning with the tilting planes in her early paintings, such as «Floor 1» (1967), «Floor with Light at Noon» (1972), and «Two Exact Rules on a Dark and Light Floor» (1975), all done in acrylic on canvas.

Four canvases are hung on a government - blue steel armature, their figurative imagery pulled from archival sources such as stills from early 20th - century Australian films, or satirical comics.

While it was around this time that Frankenthaler's canvases began to achieve a lightness — a kind of openness that allowed the composition to breathe — it was in the 1970s that the artist had moved away from the literal and figurative landscapes seen in her early work, such as the celebrated Mountains and Sea from 1952, and towards a more emotional and expressive representation of Color Field paintings where she developed a new sumptuousness and sensuality characterized in the present work.

This concern was common to some earlier and larger canvases such as «Quadrama IV» (T01688).

This includes sculptures such as «Jive Ass Bird» from the early»70s, with its abstracted American flag face — political imagery rendered out of old canvas and belts.

In this way, he amassed early pieces by key L.A. artists, such as photographer Catherine Opie, known for her striking fetish pictures, as well as Lari Pittman, who produces deeply layered canvases that fuse decorative patterns with modern themes.

In the early 20th century, at a time when many U.S. moguls were focusing on amassing European masters, banking and steel scion Duncan Phillips focused his collecting efforts on American art, acquiring canvases by now venerated painters such as Thomas Eakins, Marsden Hartley, Winslow Homer, Georgia O'Keeffe and Helen Frankenthaler.

Five years ago I thought that Tim Ebner's early work from the late 1970s and 80s would no longer need to be dragged into the discussion of the paintings that he has been making since 1991, when after more than a decade's worth of minimalist «surrogate» paintings from non-traditional materials (such as linoleum, resin, and vacu - formed acrylic), he turned abruptly to making representational paintings with brushes in oil on canvas.

The round was led by Canvas Ventures, an early - stage venture capital firm whose partners, prior to forming Canvas, have invested in leading technology companies such as Siri (now owned by Apple), Evernote and Nuance Communications.

Earlier, the company had launched few Spark series smartphones such as Micromax Canvas Spark 2, Canvas Spark 3 and Canvas Spark 2 Plus.