Sentences with phrase «early paintings here»

A couple of early paintings here show how much he was in its sway, particularly «Susanna and the Elders» (1953), a de Kooning-esque romp of bold, energetic forms in black and white marching diagonally across the canvas, attended here and there by tiny licks of flamelike color.

So the earliest paintings here are 1560s portraits by Bruges - born Marcus Gheeraerts, portraitist to Queen Elizabeth's court.

Untitled (1970 — 71) is the earliest painting here and is closest in composition to Novros's first commissioned fresco painting, which he made in Donald Judd's SoHo building in 1970.

Not exact matches

Earlier in the summer, we came to the realization that our house was in major need of deep cleaning, some painting, and a bunch of small fixes here and there.

The songs on here are more upbeat and catchy than what we've heard from The Shins before, with songs like Name for You and Painting a Hole, and even the two «duds» I mentioned earlier.

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.

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

Here a collage made from dried leaves by Josef Albers, an abstract textile by Anni Albers and a marvelous early Ray Johnson painting called «Calm Center» of nested colored squares — along with affectionate letters exchanged between all four colleagues — together help explain where Asawa's magic came from, and how it would spread.

And in the paintings on show here we see that with the passing of time a freedom with colour has also appeared; her later paintings are fresher, surer, the light dark colour contrasts of the earlier works replaced by full colour complements.

Wintersnow Snowinters signals Snow's first painting show in some two decades, so several earlier watercolor works (like Sleeping vs Waking) reappear here as fully - formed oil on panel compositions.

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

The nine early paintings and six watercolors here, done in a naive expressionist - meets - Social Realist style — especially those of Carlos, her children, lovers, and a swarthy friend named Nadya — are among the most convincing of her career.

Exhibited across two floors of the gallery, the paintings here range in scale from the tablet - sized Boardwalk Barter a reminiscence from the artist's earlier years selling his work in Venice, California, to one of his signature, immersive flower - like explosions, which can be read as either the conceptual origin or the end point of all other work.

As with Wool's early drip paintings, the influence of Jackson Pollock is observed here.

It is Willumsen who ends up the star here, as I repeatedly mistook paintings by him for works by Schnabel, except a hundred years earlier.

A couple of the early abstract Berkeley paintings feature here, these leading to the second gallery where we see Diebenkorn abandon abstract painting and become part of the Bay Area Figurative Movement.

Paolini's belief that a work of art is not just reflective of the «here and now» but is also resonant of earlier traditions, has led him to investigate art's relation to the past, creating intriguing installations deeply rooted in art history from the Renaissance to today - from plaster casts of classical sculptures shattered on the ground, to photographs of iconic paintings by Northern Italian Renaissance painter, Lorenzo Lotto, or inquiries into the construction of the image.

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

Here, she brings these paintings full circle to Purchase College, where the grand scale and the flatness of the buildings highlight the architectural legacy of the college, designed by Edward Larrabee Barnes within a rural landscape in the early 1960s and «70s.

The paintings that follow here, through the early 1950s, further distill this abstract mood, with formal structure evolving into ever - more - expressive deployments of color and paint - handling — the siren flash of Orange Personage (1947), the blood and bones of The Hotel Corridor (1950).

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

A title here and there — such as Trane or Free, White, and 21 — alludes to the real world, but so does Frank Stella when he picks New York neighborhoods for Stella's early paintings.

I'm willing to concede that a conceptual agenda could be as much at work here as in his earlier abstractions, but it has been eclipsed, in my perception at least, by his paint qua paint.

His switch from painting to sculpture was coincident with a growing interest in architecture and in industrial processes and materials, such as galvanized steel, concrete, plywood and aluminum, which he used to create large, hollow, Minimalist sculptures.This decisive development is documented here for the first time, from the early work of the 1950s up to 1968, the point at which Judd's artistic vocabulary reached its complete formation.

Whenever I come into your gallery, with its beautifully spare rooms and elegant finishings, I immediately remember two previous shows here that strike me as among the most powerful paintings shows I've experienced, the early Frank Stella show from 2012 and the David Hammons show from 2011.

The earliest work here is a small almost naïve painting from 1940.

The paintings displayed here span from his early exploration of light to his later relationship with shadows.

In 1948, Willem de Kooning painted one of his great early all - over abstractions here titled «Asheville.»

Here are the victorious early paintings of the 1962 art school graduate, who by the following year was a big star meeting the Queen Mother in a gold lamé jacket.

One of the best - known accounts of an early Rauschenberg painting undergoing episodes of change involves Untitled [small black painting](1953, fig. 3), a work that belonged to John Cage (1912 — 1992) for more than thirty years and shares a number of similarities with the painting under discussion here.

Early abstracts by Lygia Clark and Hélio Oiticica, exhibited here, are typically angulated, enfolded, elegant, and more likely to be fashioned from polyvinyl acetate resin and painted iron than traditional bronze.

«I am bowled over by the amazing transformation the Wadsworth Atheneum has undergone in the eight short years I've been here, from my earliest days of having to close galleries because water was seeping through the walls, to now watching in awe as row upon row of stunning paintings are installed in those same spaces, now exquisitely refurbished,» director Susan L. Talbott told the Observer in an email.

His work sometimes makes oblique reference to earlier 20th century masters; the dense mood - scapes of Mark Rothko perhaps or the eye - confounding monochromes of Ellsworth Kelly, or in the case of the painting exhibited here, the vertical «zip» so often associated with Barnett Newman.

The sculptures in this exhibition recall in size some of the early domestically - scaled Accumulations, for which Kusama covered such things as ironing boards and travel valises in the stuffed - fabric protuberances, yet the works on view here are painted in the style that has come to characterize Kusama's most recent paintings.

The list included those who had since become major figures, like Basquiat (who participated with his early moniker SAMO, but also exhibited here what presumably was his first painting on canvas), Haring, Kiki Smith, Jenny Holzer, Kenny Scharf, and Wolfgang Staehle.

Also here were works by Mira Dancy and Sanya Kantarovsky, strong exponents of this new painting who channel bits of early 20th - century modernism toward, respectively, sensual and self - deprecating ends.

Janine Antoni (her earlier works were sculpted in chocolate and lard using her teeth) and Christopher Wool (who has been with the gallery since 1987, showing painting, photography, and sculpture) can both be found here.

The European paintings collection spans several centuries, with examples from the Middle Ages and Renaissance through the early modern era, including several Impressionist works, such as Van Gogh's Irises, seen here

From 1940 on, Davis mined popular culture, advertising images, Cubism, jazz rhythms and his own earlier works to make distinctive paintings that, as some 100 works here show, pulse with wit and energy.

Here, as in the earlier candle paintings, the artistic mechanism of subjective appropriation and thematic displacement comes into play.

Here, Ondak recuperates lost paintings, either from his own early years or from anonymous sources, and intervenes on their surface, obstructing the imagery with newly applied paint and then with a «cage» of interlaced copper wire.

Here, the bull, painted in a bright palette, offers an early, strong example from this key series.

Some of your early paintings shown here depict a saturated, hysterical city that constrasts with your island paintings of silent, mysterious forests and beaches.

And I love how the pattern of Stella's early black paintings reasserts here as a spiralic mandala in low relief.

Here the artists discusses his early painting with Amanda Valdez.

And in fact, it's not hard to see the painting collected here, and the broader painting universe from which it's drawn, partly as an expression of some nostalgia about earlier eras, when experiments with form seemed to offer something like truly radical content.

The six vibrant and highly detailed tapestries presented here bear the influence both of early Renaissance painting and of William Hogarth's «modern moral subjects,» literally weaving characters, incidents and objects from Perry's research into a modern - day version of Hogarth's famous A Rake's Progress.

The muscular brushwork and aggressive line for which Godwin is known are evident in even the earliest painting included here, created in 1950 before the artist had left her home state of Virginia for New York City.

Formally, the Back series recalls Scott's earlier use of unstretched canvas, though here the ground is unstretched felt covered with layers of spray paint, shellac and rhoplex.

What role did that play in this change from the early compositional work, where you put some things here and there and then you balance them out in terms of composition, to making the painting a fully constituted field to be addressed as a unit?