Sentences with phrase «early twentieth century art»

Then, inspired by early twentieth century art, Tadeusz started looking for some other kinds of depicting reality and expressing emotions.

Inspired by early twentieth century art, Tadeusz finds inspiration from abstract expressionism of the mid 1940's.

Ireson has also lectured extensively around the world on impressionist, post-impressionist, and early twentieth century art, and has taught at the Courtauld Institute of Art, London.

Not exact matches

Part of Maritain's appeal as a philosopher of art stems from his intimate contact with the creative atmosphere of early - twentieth - century France.

God is not left without witnesses, however, and the urge to create religious statements and the evidence that the power of the gospel still gripped persons outside of systems led to the fact that a great body of religious art was produced in the nineteenth and early twentieth centuries outside of official religious circles.

Once known as the «richest town in the world,» Brookline became known in the nineteenth and early twentieth century as the home of significant figures in the worlds of arts and culture: architect Henry Hobson Richardson, landscape architect Frederick Law Olmsted, poet Amy Lowell, and novelist Saul Bellow all called Brookline home.

Comic books are an original American art form, created in the early days of the twentieth century.

In fact, at one point in the early twentieth century, dogs that were represented in art and entertainment as the classic family canine often looked like the pit bull terriers that we see today in our society.

This spring, the Philadelphia Museum of Art will present an exhibition exploring the creative responses of American artists following the rapid pace of change that occurred in the US during the early decades of the twentieth century.

French artist Caroline Achaintre's visually striking, witty ceramic sculptures and hand - tufted wall hangings bring together a whole host of references such as catwalk fashion, carnival, and death - metal iconography, as well as Primitivism and Expressionism — early twentieth - century Western art movements that borrowed heavily from non-Western and prehistoric imagery to find new ways of representing the modern world.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

It is the one «American» Piero that gives a clear taste of an aspect of his art that made him a particularly exciting figure for painters and writers in the early twentieth century — when he crowds together a number of figures in a tight space, making them feel full - bodied yet flat, like overlapping cards you hold in your hand in a game.

Adventures of the Black Square, Abstract Art and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive form (in this exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a new art starting in Russia and Northern Europe in the early twentieth centuArt and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive form (in this exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a new art starting in Russia and Northern Europe in the early twentieth centuart starting in Russia and Northern Europe in the early twentieth century.

Describing abstraction as a «revolution of twentieth century art», Hoyland began making early enquiries into how rational thought and visual perception could be used as the sole basis for pictorial composition.

«The Whitney Museum's revelatory survey of the work that earned O'Keeffe such derision, the evocative, more - or-less abstract art she made starting in 1915 — phenomenally early for an American artist — should reopen eyes to an undeniable fact: O'Keeffe produced some of the most original and ambitious art in the twentieth century.»

Our extensive inventory of nineteenth - and early twentieth - century American art regularly features landscapes in the Hudson River School and luminist styles, as well as still - life, genre, and marine subjects.

In 2007, Tod Williams Billie Tsien Architects received the commission to design the new Barnes Foundation building, an enviable project that was surrounded both by controversy and the excitement of increasing access to one of America's premier collections of post-impressionist art, amassed by Dr. Albert C. Barnes in the early twentieth century.

American Art Students learn to look at visual imagery through an exploration of American paintings, sculpture, and decorative arts representing the colonial period, the Revolutionary and the Civil Wars, westward expansion, the early twentieth century, and the contemporary moment.

Debating Modernism I explores the emergence and subsequent development of an Arab art aesthetic through drawings and paintings from the early twentieth century.

Her dissertation explores how modern artists worked across boundaries of fine art and design to champion modern art's relevance to everyday life in the early twentieth century.

The first group of works in the exhibition offers a journey through modern art, beginning in the early twentieth century with Picasso and the invention of cubism and Duchamp and the questions surrounding the readymade.

Russian Photography after the Revolution will feature rare, large - format gelatin silver prints by Boris Ignatovich (1899 - 1976), a master of the Soviet avant - garde; Arkady Shaikhet (1898 - 1959), widely considered to be the founder of Soviet photojournalism; and Aleksandr Rodchenko (1891 - 1956), perhaps the most acclaimed figure in early twentieth - century Russian art and design; as well as Abram Shterenberg (1900 - 1979), Georgy Petrussov (1903 - 1971), Semyon Fridlyand (1905 - 1964), Sergey Shimansky (1898 - 1972), Solomon Telingater (1903 - 1969), Emmanuil Evzerikhin (1911 - 1984), Yakov Khalip (1908 - 1980), and Georgy Zelma (1906 - 1984).

Imperfect Chronology — Debating Modernism I explores the emergence and subsequent development of an Arab art aesthetic through drawings and paintings from the early twentieth century to 1967, an important historical period in the region.

This presentation of masterworks and experimental pieces from SFMOMA's collection of painting and sculpture explores themes that have shaped the history of modern art from the early twentieth century to our own time.

This work is joined by a selection of landscape and portrait paintings by Klimt, and a display of Austrian decorative arts from the early twentieth century.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

Known as the mother of American modernism, Georgia O'Keeffe played a pivotal role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

The early part of the collection features French and Russian art from the beginning of the twentieth century, cubist paintings and superb holdings of expressionist and modern British art.

The diverse works on view include rare early pictures, major examples of the Pictorialist art movement by figures such as Peter Henry Emerson and George Seeley, and a broad range of twentieth - century art and vernacular photographs.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art JournArt in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journart of the early twentieth century for Art JournArt Journal.

1989 Transformations in Landscapes: Postwar Works from the Collection, Albright - Knox Art Gallery, Buffalo, NY Early Twentieth - Century Modernists, The Arkansas Arts Center, Little Rock, AR

Our modern notion of collaging, or papier - collé (French for glued or stuck paper), was ignited in the early twentieth century by artists such as Pablo Picasso (1881 — 1973) and Georges Braque (1882 — 1963), who incorporated various text, photographs, found objects, and paper into works of art, resulting in an entirely new medium.

Display one explores the emergence and subsequent development of an Arab art aesthetic through drawings and paintings from the early twentieth century to 1967, an important historical period in the region.

Madahar also referenced the work of early - twentieth - century photographer of high society Madame Yevonde (1893 --- 1975), adding another layer of art historical context.

The addition of motion and sound brought new dimensions to the abstract art pioneered by Wassily Kandinsky and other avant - garde painters of the early twentieth century.

The sources of the Oakland - based painter Oliver Lee Jackson's particular style are various: African art, early twentieth century German expressionism, American jazz.

The exhibit features a selection of art works, historical photographs, and documents from the early twentieth century through the early twenty - first century from the permanent collection.

This exhibition explored the range and depth of African artistic sensibility through 75 works of sub-Saharan art dating from the sixteenth to early twentieth centuries.

Her research examines the collision between American art and science at the locus of the human body, particularly during the late - nineteenth and early - twentieth centuries.

Georgia O'Keeffe, also known as the mother of American modernism, played an extremely important role in the development of American contemporary art and its relationship with European movements of the early twentieth century.

Greenough notes the insights provided by the correspondence on their art, their friendships with many key figures of early twentieth - century American art and culture, and, most especially, their relationship with each other.

The collection has particular strengths in Ming and Qing dynasty Chinese painting, Mughal dynasty Indian miniature painting, Baroque painting, old master prints and drawings, early American painting, nineteenth - and early - twentieth - century photography, Conceptual art, international contemporary art, West Coast avant - garde film, international animation, Soviet cinema, early video art, and the largest collection of Japanese films outside of Japan.

Highlights of the European art collection include English genre painting of the nineteenth - century as well as examples of French post-Impressionistic painting from the late nineteenth and early twentieth century.

Neue Galerie New York is a museum devoted to early twentieth - century German and Austrian art and design, displayed on two exhibition floors.

New York, Solomon R. Guggenheim Museum; Baden - Baden, Staatliche Kunsthalle; and Bremen, Kunsthalle Bremen, Twentieth - Century American Drawing: Three Avant - Garde Generations, January - August 1976; Baltimore, The Baltimore Museum of Art; Detroit, The Detroit Institute of Arts; Chicago, Museum of Contemporary Art; New York, The Metropolitan Museum of Art; Amsterdam, Stedelijk Museum; Paris, Musee National d'Art Moderne, Centre Georges Pompidou; Cologne, Museum Ludwig; and Basel, Kunstmuseum Basel, Barnett Newman: The Complete Drawings, 1944 - 1969, April 1979 - July 1981, pp. 70 - 71, no. 19, illustrated in color and black and white (in different orientations)(Baltimore); n.p., no. 19, illustrated in color (Amsterdam); p. 13, no. 19, illustrated (Paris); p. 13, no. 19, illustrated in color (Cologne); p. 13, no. 19, illustrated in color (Basel) Providence, Rhode Island, Bell Gallery, Brown University; Worcester, Massachusetts, Cantor Art Gallery, College of the Holy Cross; and Southampton, New York, Parrish Art Museum, Flying Tigers: Painting and Sculpture in New York 1939 - 1946, April - July 1985, p. 78, no. 37, illustrated; Minneapolis, Walker Art Center; Saint Louis, The Saint Louis Art Museum; and New York, The Pace Gallery, The Sublime is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944 - 1949, March - November 1994, p. 49, no. 17, illustrated in color and p. 20 (text)

The Museum's collection of European art consists of examples from the Baroque - era through the early twentieth - century.

The transformation of the ready - made everyday object in art has been commonplace since the early twentieth century.

In 1974, Harold Rosenberg, one of Saul Steinberg's earliest and most eloquent supporters, wrote that «Cubism... which in the canon of the American art historian is the nucleus of twentieth - century formal development in painting, sculpture and drawing, is to Steinberg merely another detail in the pattern of modern mannerisms; in a landscape, he finds no difficulty in combining Cubist and Constructivist elements with an imitation van Gogh «self - portrait.

Opening today this first display of works explores the emergence and subsequent development of an Arab art aesthetic through drawings and paintings from the early twentieth century to 1967, an important historical period in the region.