Sentences with phrase «early modernists like»

He also created sculptures based on the work of early modernists like Constantin Brancusi and Piet Mondrian, and even found inspiration in the poetry of Ezra Pound and the pared - down aesthetics of Shaker furniture.

«Bruce Garrity paints very colorful and dynamic still lives, portraiots, nudes, and reimagines some of the great works by Post Impressionist artists like Cezanne and early Modernists like Matisse.

Curry may work in acidic colors and surfaces but his forms always referenced the sculpture of early modernists like Noguchi, Miro, Calder.

Not exact matches

Late 19th - century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the Abstract Expressionists, the Color Field painters, and the Lyrical Abstractionists.

From her early collections of mock burial artefacts, to primate - like figures constructed from discarded fur coats, and her more recent enigmatic gurus, Upritchard has developed a highly idiosyncratic language of sculpture that frequently borrows from craft practices and a broad range of references from the deep recesses of museum collections, folklore and counter-cultures to high modernist design.

Taking its example from other European modernists like Joan Miró, the Color Field movement encompasses several decades from the mid 20th century through the early 21st century.

The 1940s in New York City heralded the triumph of American abstract expressionism, a Modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, surrealism, Joan Miró, cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham.

In the latter perspective, early minimalism yielded advanced Modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movement.

One can connect them with early historical modernist painting, and aspects of New York School paintings in the»50s, but there's a physicality, as I said earlier, a scruffiness, a kind of attitude present in your paintings that doesn't feel like anything else one has really seen within that mode of working.

It's quite a distance — stylistically and chronologically — from the brightly colored geometry of the French early - Modernist painter Sonia Delaunay to the Shaker - like austerity of the Minimalist sculptor Carl Andre.

Treib's calligraphic - like brushstrokes read like some mysterious language, other forms feel grounded in the vocabulary of early modernist abstractions.

That would all be fine if they were used to add something, but it reads like a formal exercise, toying with abstraction in a long tradition of early Modernists or folk painters.

Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Hilma af Klint and Wassily Kandinsky.

The monochromatic sculptural pieces, like Giallo Cromo (1961), recall, instead, the modernist work of Louise Nevelson, the American sculptor who, in fact, made her European debut right at that time, in the early 60s.

In his later years, he also designed furniture whose simplicity echoed his own sculptures and the work of early modernist designers he admired, like Gerrit Rietveld.

On the fifth floor, the colorful paintings of Shara Hughes push natural forms toward feverish abstraction using the Fauves and early American modernists like Charles Burchfield.

In the early fifties planar abstractionists, like Newman and Rothko, stuck with their hard or soft geometry formats, working beyond the constructive devices of cubism and setting the agenda for the next generation of American painters, the sixties high modernists.

The Grantchester Pottery was formed at Wysing in 2011 by artists Giles Round and Phil Root and is a conceptual pottery and design team inspired by early modernist decorative artist's studios like Roger Fry's Omega Group.

It ranges from the contemporary work of Elizabeth Peyton and Dana Schutz to artists of Katz» generation like Al Held and early - 20th - century modernists such as Charles Burchfield and Marsden Hartley.

Elsewhere a suite of Glenn Ligon's early drawings from the mid -»80s juxtaposes famous modernist sculpture, like Brancusi's «Endless Column,» with hair pomades in a sly move that suggests the influence of African culture on European modernists.

Early 1960s works by Argentine artist Antonio Berni anchor a gallery featuring such familiar modernists as Diego Rivera, Frida Kahlo and Roberto Matta as well as one devoted to much younger contemporary artists like Teresa Margolles and Oscar Muñoz.

This collection mainly includes painting and sculpture from the late 19th - century and early 20th - century (featuring movements like Impressionism, Post-Impressionism, Expressionism, Fauvism, Cubism, Ecole de Paris, Dada and Surrealism, Abstract Expressionism and Pop Art, Minimalism and Conceptual Art), as well as drawings and poster art, and works representing design movements such as Art Nouveau, the Bauhaus Design School, and the modernist idiom of Art Deco.

In another instance of doubling the past, these paintings look like an early American Modernist's response to Cubism, à la Joseph Stella or Marsden Hartley, detonated by the Wild Style of the 1980s.

The Sackner material, grounded in the early 20th - century European avant - garde, brings together examples of modernist movements like Italian Futurism, Dada, Russian Constructivism and Surrealism.

Like Robert Motherwell, Reginato does feel not compelled to overthrow his predecessors, which includes early modernists such as Paul Klee, Wassily Kandinsky and Joan Miró, as well as the Abstract Expressionists and Color Field artists.

Jones's sculptures at first glance look like a kind of tribute to the early and mid-century Modernist abstraction of sculptors like Anthony Caro, David Smith, and Tom Scott, for whom Jones worked as a studio assistant in the eighties.