Sentences with phrase «early paintings such»

In her early paintings such as «Little 9 x 9» acrylic paint is sculpted like malleable clay with Heilmann's fingers to create structure and define space, generating form through a traditionally sculptural process of adding or subtracting material.

His patron in Nanjing, the Duke of Chengguo, was a great collector in whose collections Wu studied the refined baimiao ink mono - chrome, linear figure style of Li Gonglin which is apparent in many of Wu's early paintings such as the handscroll, The Iron Flute, 1484, Shanghai Museum.

[14] Gwen John's early paintings such as Portrait of Mrs. Atkinson, Young Woman with a Violin, and Interior with Figures are intimist works painted in a traditional style characterised by subdued colour and transparent glazes.

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.

An earlier call to the hospital's PRO had indicated official discouragement of such a visit, and investigations had also revealed that workers and patients had been instructed not to speak to the press because when they did so in the past, the stories were allegedly twisted and the hospital was painted in a bad light.

Explores how attitudes have changed throughout history, from early medical drawings, 19th - century paintings, anatomical models and cultural artefacts, to works by artists such as Damien Hirst, Helen Chadwick and Wim Delvoye.

This particular car is a very early Torch Red 2002 that came from Saleen with many sought after options such as a supercharger, heat extractor hood, speedster package with roll bar, wind deflector, upgraded 10» chrome rims and tires, S281 fender badges, embroidered S281 door panel carpet, Saleen floor mats, painted door pulls, Saleen gauge package, 5 speed, and Borla Exhaust with Intercooled tips.

If early registration trends hold, paint companies will have a larger presence at the 2017 SEMA Show, giving publications such as the ones below even more colors and products to write about.

Our historic French Quarter Hotel features buildings that date back to the early nineteenth century, such as our Audubon breakfast room where John James Audubon painted his Birds of America series from 1821 - 22 while residing at the Audubon Cottages.

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.

Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.

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.

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

In addition to the founding stories of the RA and PAFA, this exhibition recognizes the other artist - founders of PAFA, West's role as the teacher of eighteenth - and early - nineteenth - century American artists, and the development of monumental history paintings such as Christ Rejected and Death on the Pale Horse.

As such it offers the opportunity both to review many early, celebrated paintings and also to see these afresh in the context of works produced since then and up to the present day.

Her reading of Henri Bergson's theory of «living energy» is demonstrated in her paintings with active forms covering the entire picture plane, as she «believes in the interconnected nature of all living things...» [1] As such, she was among the early practitioners of the «all - over» painting style along with Jackson Pollock.

Alongside significant early works such as Me, Jesus and the Children (2001 — 2003)-- a photorealist painting of the artist's chest, overlaid with cartoon cherubs and floating speech bubbles — the exhibition features paintings from Colen's long - running «Gum» and «Trash» series.

Viewers will be able to see pieces ranging from her early paintings inspired by the use of LSD to later works such as her «What It's Like What It Is # 3» (1991), a large scale mixed media installation addressing racist stereotypes.

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.

Throughout Resonating, viewers will note Green's various uses of a fan shape: in early works such as For All & None (1978), the fan acts as an essential symbol, suggestive of deeper spiritual meaning; in Taxes (1993), one of her later black and white paintings, the fan shape becomes a central formal element that unifies the composition; in She Dreams (1996), the fan shapes create a complex formal variation which co-exists with other images.

Brown nurtured an early fascination with the «scary» art, such as Francis Bacon, and would rummage her parents» art books for the very darkest pictures, e.g. a particular painting by George Grosz of a butcher shop with human meat in it: «I had sneak looks at it, like you might look at Playboy or something.»

Cage mentioned Robert Rauschenberg's early white paintings as an inspiration for «4» 33»» - the soundless piano piece whose performance makes his point that «there is no such thing as silence,» only failures of attention.

Also featured in the exhibition will be a series of paintings based on memorabilia from the American punk scene of the 1970 - 80s and other works that use early Modernism as a starting point to address topics such as fascism, sex and boredom, which the artist likens to «Suprematism on poppers.»

In 1982, the Museum organized an exhibition of 48 Lichtenstein paintings from 1951 to the early 1980s, the first to include rarely seen early works such as the iconic Look Mickey (1961).

Walk into your prototypical observational painter's studio and you are likely to find monographs from modern painters such as Edwin Dickinson and Giorgio Morandi side by side with books on early Renaissance masters Masaccio and Piero della Francesca, as well as a tome filled with the prehistoric cave paintings from Lascaux.

What was it about these works and earlier 1960s paintings such as The Sausage Eater that attracted you?

These letterforms reveal the earliest, most thinly painted surface, indicating that the Grotjahn planned from the very beginning to include his monogram, and sometimes other typographic imprints, such as numeric references, in his work.

MG So what attitude towards consumer culture did you see when you looked at early paintings of Polke's such as the Socks or The Sausage Eater?

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

There can't be many books that combine a formal analysis of mathematical patterns in Agnes Martin's painting with gems such as «I had been early to take up roller disco.»

[9][50] Helen Anderson, a fellow student, remembered his early works as being very aggressive, with dark, moody colours, which was not the type of painting she expected from such a «quiet student».

Extensive travels through Europe in 1952 had a significant impact on Chimes's work and it was in the paintings of artists such as Giorgio de Chirico, Andre Breton and Henri Matisse, that Chimes found the affirmation of his own developing ideas that would soon lead to the earliest mature works included in this exhibition.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

Bringing to mind diverse sources of influence such as early Pop art, Precisionism and New Objectivity, these paintings suggests that a level, clear - eyed gaze at our contemporary experience does not preclude an affective relationship with it.

One of the earliest of his mature paintings, along with masterworks such as The Bell, 1952, and Painting No. 5, 1952 (collection: Metropolitan Museum of Art, New York), Untitled sees Guston released from the constraints of representational painting that dominated the early part of hisPainting No. 5, 1952 (collection: Metropolitan Museum of Art, New York), Untitled sees Guston released from the constraints of representational painting that dominated the early part of hispainting that dominated the early part of his career.

While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works» «objectness.»

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

In this early stage, Pape explored the degree to which she could introduce spatial ambiguity into the notion of painting by making elements of the work three - dimensional and experimenting with either hanging the work flat on the wall or setting it off against it in such a way that it appeared as a hybrid between painting and sculpture.

His paintings from the early forties in brightly colored oils were soon followed by works in which he employed such unorthodox materials as cement, plaster, tar, and asphalt — scraped, carved and cut and drawn upon with a rudimentary, spontaneous line.

Of all the rare, early - period Kline landscapes, cityscapes, interior studies and sketches in this condensed retrospective, that one small painting made me wonder whether it is possible to see locomotion as such.

They are the kind of paintings that made an impression on important New York curators, such as James Johnson Sweeny, and gallerists, including Betty Parsons, Sidney Janis, and Samuel Kootz in the late forties and early fifties.

Although Don Nice is best known for his depictions of contemporary American culture such as candies, soda bottles and branded sneakers, the early watercolor and oil paintings in this exhibition stem from the artist's upbringing on an open range and his love of nature.

Still Life paintings, sculptures, and drawings, produced from 1972 to the early 1980s, cover a wide range of motifs and themes, including the most traditional such as fruit, flowers, and vases.

Eykyn Maclean illustrated Coplans» perspective with works such as Andy Warhol's Flowers paintings (early 1965) and Frank Stella's Malcolm's Bouquet (1965).

Mostly paintings and drawings are featured, along with some photography, mixed - media works and sculpture by artists active in the early, middle and late periods of the century, and many contemporary figures still working today such as Hurvin Anderson, Stan Douglas, Kori Newkirk, Lorna Simpson, Mickalene Thomas and Barkley L. Hendricks (whose «New Orleans Niggah,» 1973 covers the volume).

The early works, such as Botticelli's Virgin Adoring the Sleeping Christ Child, which has not been exhibited outside of Scotland for more than 150 years, are religious paintings while later works from the Renaissance masters, 17th - century painters, Impressionists, Post-Impressionists, and Cubists include different genres of paintings such as portrait, still life and landscape, and represent the changing treatment of those genres over time.

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.

Collection (1954/1955) is the artist's first «Combine painting,» an early type of Combine that hangs on the wall like a traditional painting but reaches into three dimensions with various elements attached to the work's surface — such as the silk veil over the mirror attached just off - center and the found wood scraps along the top edge.

These paintings, all created on a grand scale, also create a visual dialogue among such widespread references as Dada, Surrealism, and early Russian theater.