Sentences with phrase «early painting reflects»

Freud's early painting reflects his love of drawing in its meticulously observed, claustrophobic detail and unswerving realism, often overlain with an uncanny atmosphere.

Early paintings reflect his interest in Cubism, biomorphic Surrealism, Jungian and Freudian theories of the unconscious, and African and Native American art.

His early painting reflected the influence of Tachisme and Abstract Expressionism.

AB: Your earlier paintings reflected a clarity and sparseness.

Not exact matches

The childhood of American astronomer Maria Mitchell gets a fictionalized treatment here, with naive - style paintings that reflect the early 1800s.

The exhibition brings together a selection of nine paintings on monochrome stone (slate and white marble) by Italian painters such as Sebastiano del Piombo, Titian, Daniele da Volterra and Leandro Bassano, which reflect the consolidation of a new approach to artistic techniques that emerged in the early decades of the 16th century.

Donegan's interest in the lived experience of commercial culture continues in this series, which reflects her earlier videos, as well as her paintings and her recent clothing line.

Color is a core concern for Brennan and his paintings reflect his deep interest in abstraction, monochrome painting, historical photography, and early film.

An earlier volume, «Kerry James Marshall: Momentos» examines the artist's series of paintings reflecting on the Civil Rights Movement, meditations on the lost legends of the era.

• El Hombre by Rufino Tamayo, a portable mural of a man reaching toward a shooting star that was commissioned by the DMA in 1953 reflects the Museum's early interest in and dedication to expanding its collection of Latin American paintings; and

Of particular interest in the exhibition is Childe Hassam's Adam and Eve Walking Out on Montauk in Early Spring (oil on wood panel, 1924), which succinctly reflects the artist's desire to replicate the Greek Classicist ideal translated to painting, and historically is considered one of Hassam's most ambitious landscape works.

Warren Rohrer's white paintings, which span from the 1970s and early 1990s, reflect a facet of his work focused on fusing light and matter through paint.

Like the Théâtres de mémoire, these paintings are brightly coloured assemblages that reflect many of the feelings of Dubuffet's earlier periods.

Her paintings continue to reflect these early impressions as she records her observations of the natural world.

If Bolduc's earlier work tended toward the decorative, the paintings he began making in the 1980s and continued through the 1990s took on a deeper symbolic significance, reflecting both the influence of his travels and his voracious reading (his close friend Michael Ondaatje once remarked that Bolduc was the best - read person he had ever met).

Earlier series have reflected her interest in popular culture (models painted from fashion magazines and Swatch watches) and textiles (Moroccan rugs).

Therefore, it includes Andy Warhol's silkscreens from the early 1960s associated with violence and death, the new form of painting that reflects the reality of the consumer society demonstrated in the works by Roy Lichtenstein, James Rosenquist or Tom Wesselmann, and Robert Longo's recasting of media images as subjective events.

This early work could reflect the sympathy Picasso felt for those who shared the transient lifestyle he had experienced in Paris before settling in a ramshackle apartment in Montemarte in 1904, a year before this was painted.

The opulent interiors, which have remained virtually unchanged for three centuries, reflect the aristocratic grandeur of the early Georgian era and feature Scottish carving, plasterwork, gilding and ceiling painting.

Although it is possible that Rauschenberg was working with clippings scavenged from old newspapers, these dates may indicate that he began the painting in fall 1951, some months earlier than reflected in the current date of the artwork.

Known for producing finely wrought, luminous black and white oil paintings, White's masterfully rendered moments of everyday life bear comparison to the quietude of paintings by the Flemish masters and Lucian Freud's early interiors, whilst the distilled forms that inhabit them reflect a more contemporary, ritualized, minimalist sensibility.

This early mirror painting stages the artist's wife, Marzia, and their daughter, Cristina, with their backs to the viewer, demonstrating Pistoletto's theatrical impulse, and creating a tension between the static painted figures, who the viewer can never fully see, and the circumstantial, frenetic movements reflected in the polished steel surface.

These are accompanied by a suite of early paintings that reflect Golub's study of antiquity, a group of unsettling portraits of the Brazilian dictator Ernesto Geisel, and works on paper that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated.

White's masterfully rendered moments of everyday life bear comparison to the quietude of paintings by the Flemish masters and Lucian Freud's early interiors, whilst the distilled forms that inhabit them reflect a more contemporary, ritualized, minimalist sensibility.

Indeed, Matta was heavily influenced by Dalí and Yves Tanguy, and became an important figure in the evolution of Surrealism, painting dreamlike, internal «inscapes» early on and, later, intense compositions reflecting the psychic damage caused by Europe's ongoing wars.

Using this understanding of space as an inspiration, she creates paintings by layering translucent washes of paint on paper and canvas, in a process that reflects her early sculptural training.

Reflecting on her early optical abstract paintings, Howardena Pindell once remarked that she gave up the rectangle in favor of unstretched canvases with idiosyncratic, non-symmetrical shapes that conjured, as she once put it, «some internal intuition of nature.»

It links the mannerist and Renaissance styles, which clearly reflects that fact that mannerism is a form of early Renaissance painting.

This in - between quality of Benning's current work reflects decades of enquiry into the operation and influence of cultural material, beginning with Benning's earliest video works made in 1989 and subsequent explorations in drawing, painting and music production.

Since the early 80's, Peter Halley's geometric paintings have been engaged in a play of relationships between what he calls «prisons» and «cells», icons that reflect the increasing geometricization of social space in the world in which we live.

In a 2015 Artforum review of his second solo exhibition at Berry Campbell, Phyllis Tuchman discusses these early paintings: «The bands, circles, and rectangles tend to be shiny and reflect light, while the other parts of these canvases are covered with matte paint.

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».

Particularly intriguing is the possibility that Mr. Katz's use of expanses of saturated color reflects not only the influence of Abstract Expressionism, the prevailing style when he was coming of age as an artist in New York City in the early 1950's, but also the impact of his parents, bohemian Russian emigres who tended to paint the rooms of their Sheepshead Bay home in Brooklyn in strange, intense colors and unusual patterns.

Thus while his early landscapes, mostly completed in the 1820s, reflected his genuine appreciation for the beauty and naturalism of the American wilderness, his later paintings, completed during the 1830s and early 1840s (and strongly influenced by JMW Turner), reflected his fear that American materialism would destroy the scenery he loved, and so became more allegorical and unnecessarily melodramatic.

During the 1960s, she started painting a series of abstract landscapes reflecting her earlier experiences in the west of Ireland, at the Burren, Co..

Her early Abstract Expressionist paintings reflect time spent at the Club and the Cedar Bar.

Concentrating on mass media imagery early on in her career, Vija Celmins painted scenes of war and disaster that reflected on her early childhood experiences.

Rail: I'm just reflecting on those early paintings that you were doing which seemed to be more in the tradition of Cubism.

The exhibition will also include early Golub paintings that reflect his study of antiquity, his series of unsettling portraits of the Brazilian dictator Ernesto Geisel, and works on paper rendered in a raw, visceral style depicting subjects from political figures and victims of violence to nude forms and animals.

Beside emphasizing some of his earlier works like the rarely seen curtain and window paintings, the show will also feature Richter's new pieces that reflect the painter's current creative preoccupations.

In addition to his well - known paintings of Tahiti, in which the artist constructed his perfect vision of man's communion with the natural world, the book also includes powerful works that reflect the artist's contact with other seminal early modern masters such as Van Gogh and Cézanne.

They also represent the early workings of Zeigler where his paintings were directly inspired by specific imagery which is reflected in the artworks, said Zeigler.

Since the early 1980's he sought to create paintings informed — on a meta - narrative level — by his personal experience, while also reflecting the fundamental rules of his pictorial vocabulary.

Sometimes incorporating parts of chairs and other found objects, they reflected his early admiration for the all - white paintings and reliefs of Robert Ryman and Piero Manzoni.

Her experience as a clinical psychologist practicing psychotherapy from a contemporary psychoanalytic perspective for over 25 years reflects an enduring passion and respect for personal idiosyncrasy that characterizes her early portrait work, the more recent and abstract, life - size human figure paintings, and now, her turn to the reservoir of personal experience within.

Familiar from Shepherd's earlier bodies of work, the industrial enamel dries with a glossy, mirror - like finish that registers and reflects the space around the painting, fragmenting the shapes on account of the subtle ridges made by her brush.

The silence and opulent visual substance of each painting is reflected, as was often the case in early and post-war modernism, in Opper's titles.

The exhibition The Optimism of Colour: William Perehudoff, a retrospective, guest - curated for the Mendel Art Gallery by Karen Wilkin, and this accompanying catalogue celebrate Perehudoff's achievements and trace the evolution of his distinctive approach, from his early figurative works, which reflect his desire to enlarge upon the special character of his surroundings, to the radiant, abstract paintings that established his reputation — paintings that seem to aspire to the condition of music.

This is reflected - though not illustrated - by the basic syntax of his earliest fully abstract paintings, starting with White Painting (1950).