Sentences with phrase «early paintings often»

These early paintings often have an anxious energy.

Doig's early paintings often seem to represent remembered or, perhaps, imagined scenes from his Canadian childhood, but stylistically they are hard to locate, concerned more with inner than outer landscapes, apparitions

Not exact matches

He reworked earlier paintings, often reproducing them in drawings and prints.

They look completely flustered by the presence of Porzingis and Kanter in the paint, settling for perimeter shots early and often in the first quarter, and not looking inside at all.

Since lead dust and paint chips inhaled and eaten by children often come from raising and closing old windows, the county is also earmarking $ 436,838 in leftover funds from earlier years of the lead prevention and remediation program to give out low - interest loans or grants for window replacements, based on a sliding income scale, over the next five years.

His early work was figurative and often described as expressionist, but from the mid 1960s his paintings became more geometric.

Even then, the early paintings are sometimes rectangles, either vertical, but more often horizontal.

It is a lesson in an aspect of AbEx that often gets lost in its hagiography: with all the influence of early modernism, the AbEx painters succeeded by grasping the universal notion that painting is an improvisational art that can not be exhausted as long as there are artists willing to risk thinking for themselves.

However, because of my involvement with public art projects and queer identity in early, 90s, I decided to return to paintings with work that looked at the social ideas about the origins of one's sexual identity, often with black humor, of course.

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

These primarily earth - coloured paintings from the late 1950s and early 1960s were often textured with sand, hessian, metal and wood, and included collages in shallow boxes as they became increasingly sculptural.

Evoking the rebellious post-Pop aesthetic of New York, Laska often incorporates recycled waste materials and found objects into her paintings, sometimes reworking parts of earlier canvases entirely.

Like many others, I have often repeated the orthodoxy that the early 1980s saw a return to painting, a rediscovery of figuration, an embrace of dramatic content and an explicit engagement with art history.

Within these paintings, which embody both the radiance of life and the sublimity of death, motifs from Kusama's earliest works are often echoed, giving evidence to the singular vision that has driven her over the course of her long career.

His late 1950s - early 1960s paintings, often done on mulberry paper, but also sometimes on cotton fabric, are speculative, «weak» and provisional; they anticipate the radical deconstruction of painting that would only get underway some years later in the U.S. and Europe.

Conceived as an adjunct to painting in the earliest years of its development in the first decades of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy of its own (albeit one that often still took its cues from traditional painterly modes of representation).

Much of Helen O'Leary's work materially recycles her own earlier paintings panels, which she cut into scraps and strips and pieces together — she calls it knitting — to form something new and often sculptural.

This is due in large part to the site's dedication to representing primarily painters working in the realm of Magic Realism, a predominantly Midwest American school of painting often considered an offshoot of Surrealism, but which traces its roots to the early 20th century as an outgrowth of German expressionism (thereby actually pre-dating the surrealists by a few years).

Many of Thiebaud's early drawings have a personal quality that contrasts strongly with the sense of detachment the paintings often possess.

Appropriating the format of specific paintings by renowned masters ranging from Titian to Édouard Manet, Wiley often depicts his subjects wearing sneakers, hoodies, and other gear associated with today's hip - hop culture and sets them against ornate decorative backgrounds that evoke earlier eras and cultures.

Her early work features trompe - l'oeil techniques and paintings often complement each other and their environs.

His early 1950s works, painted in a European Modernist style, often show originally «American» subject matters such as scenes of western expansion.

His early paintings and reliefs, inspired by cave paintings he saw while traveling in Europe, were often exhibited with the group of Chicago artists who were nicknamed the «Monster Roster» because of their fascination with morbid or mythological imagery.

But still, the paintings feel that way, with marks that have the zip and bounce of those in Greenbaum's earlier work, but now mostly just peeking out from behind more thickly slathered - on passages, often of black or otherwise dark coloring.

All these will be featured extensively in this showcase alongside the often overlooked female pop - artist Marjorie Strider, who will be introduced through early and later masterpieces exploring the spatial embeddedness of painting, relief and sculpture.

What makes de Kooning such a great artist may be something far more subtle, far more interior to painting itself and perhaps expressed best in his earlier works, those that are, again, often described as transitional, from figurative works of the early 40s to even abstractions such as Painting, Attic, or Excpainting itself and perhaps expressed best in his earlier works, those that are, again, often described as transitional, from figurative works of the early 40s to even abstractions such as Painting, Attic, or ExcPainting, Attic, or Excavation.

His early paintings teem with anecdotes, often drawn from the Bible and popular sayings, but often as much for their own sake as for the elliptic message.

This book documents Bridget Riley's current exhibition at New York's Dia Center for the Arts, Reconnaissance, which brings together seminal paintings from the early 1960s, landmark works esteemed via word - of - mouth but not often seen.

Sheeler shared with Juliana Force an interest in early American folk art and textiles, which he collected and often depicted in paintings such as this one.

Early in her career she was known for painting and drawing, but in the 1950s and 1960s she turned to sculptures in bronze, wood and Corten steel, which were often huge in scale.

Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale paintings and works on paper, often extracting fragments of speech or text from various political and cultural sources and exploring the symbolic and material possibilities that reside within language.

After the war, she responded to the fear and frustration of the atomic age with angry lashings of pigment; she often covered earlier paintings with new tangles of seething brushwork.

His early paintings, his figurative still - lifes, particularly - not the late, softly fluid, lyrical abstractions that would profoundly influence the course of American art - are often so densely built up, so airtight with paint, that they've more or less had the life choked out of them; in the course of trying to keep them alive, they have in fact become dead things.

Visitors will be able to see a broad selection ranging from often witty early conceptual works to vibrantly colored and lushly executed recent paintings.

Early on, she became an important part of the circle that sprang up around such poets as Koch, John Ashbery, James Schuyler, and O'Hara, all of whom often wrote about both the woman and her work, and painters like Rivers, Grace Hartigan and others, who all admired her painting.

The artist often disappears, sometimes literally, whether avoiding a spotlight in a film of an early performance, or finally in absenting himself from the production of his art works altogether - his later paintings were carried out entirely by assistants.

Ofili came to prominence in the early 1990s with richly orchestrated paintings combining rippling dots of paint, drifts of glitter, collaged images and elephant dung — varnished, often studded with map pins and applied to the picture surface as well as supporting the canvas — a combination of physical elevation and symbolic link to the earth.

An early 20th - century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

Known for his skilled handling of light and shadow, and for the enigmatic narratives embedded in his paintings, Larraz's early experience as a political cartoonist emerges in his incisive, often humorous depictions of individuals.

It takes in his early, often extreme, performance art in China and New York - My New York for the 2002 Whitney Biennial, saw him donning a suit sewn from raw beef, imitating the bodybuilders he had seen who tried to adopt an appearance of strength to hide their real weakness and unease - and takes us up to his laboriously created, deeply affected ash paintings and sculptures, created with incense ash collected from Shanghai temples.»

BRACHA: Pietà — Eurydice — Medusa is the first comprehensive solo museum exhibition of Bracha's work in the United States, featuring a range of works spanning the last four decades — oil paintings, often created over several years, earlier and more recent drawings, notebooks, and three video works — that address the themes of loss, love and trauma within the context of the atrocities of war and traces of memory of the tragedy of the Holocaust.

While the paintings still hew to the cadre of influences that Martinez is often mentioned alongside — Picasso, Willem de Kooning, Philip Guston — they have more or less abandoned the figurative elements of epic earlier work, like «The Feast,» a dense triptych from 2010.

Like stills from the early films of Antonioni, his paintings often present the intensely stylish surface of a single moment.

Often described as the purest of Australia's abstractionists, this exhibition celebrates Upward and will features more than fifty works including paintings, screen prints and posters from the late 1950s through to the early 1980s.

The mountainscape in the show, No. 389, was painted two years later and yet is more coherently realistic than many of the earlier works, which I found intriguing as so often the motif veers toward abstraction instead of the other way around.

In a way, as critic Charles Darwent has written, Ofili «seems to be reliving 20th - century modernism backwards,» cycling through clear formal periods wherein his compositions have become more stripped - down, foregoing the dense layering and collaged elements of earlier works, and often focusing on a limited color palette — including the red, green, and black of Marcus Garvey's pan-African flag in the series of paintings he began in 2000 and showed in concert in an immersive environment at the 2003 Venice Biennale's British Pavilion.

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.

He told Mr. Serota that while early paintings made visual reference to ancient graffiti, his intentions were «more lyrical» and his inclusion of phalluses and female body parts were often just ways to evoke male and female presences in the work.

In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large - scale works, often with dramatically cropped faces.

De Kooning moved to a more lyrical form of painting, (such as Villa Borghese, 1961), that lacks the urgent, anxious connection to the world of his earlier Women paintings (no bad thing, depending on your view of these violent images, often described as misogynist).