Sentences with phrase «early twentieth century painters»

The Bar is situated next to the restaurant and is decorated with a very rare Chinese antique liqueur screen, and lithographs by Henry Moore, Robert Motherwell, and other early twentieth century painters.

Not exact matches

[Sent out earlier in the gapingvoid newsletter etc:] Picasso, the greatest painter of the twentieth century, didn't sit around on his rear end all day,...

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.

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).

In the early years of the Twentieth Century, Old Lyme was a popular summer colony for artists; Hassam was one of the first painters to work there.

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.

Each of these painters interpreted the Matunuck landscape in a personal way, yet among them they encompass most of the major trends defining American painting of the late nineteenth and early twentieth centuries — the Barbizon School, Impressionism, Post-Impressionism, Tonalism and plein - air painting — as well as the creation of the era's predominant artistic institution: a summer school.

The so - called Ashcan School consisted of a progressive group of early twentieth - century American painters and illustrators (sometimes called the New York Realists) who portrayed the urban reality of New York City life, in a gritty spontaneous unpolished style.

The Tantric Way highlights the parallels between Tantric art and the early twentieth - century modernist abstractions of Paul Klee, Piet Mondrian, Constantin Brancusi and Robert Delaunay, as well as the affinities between the post-war American painters Ad Reinhardt, Mark Rothko and Barnett Newman and the work of Indian artist Biren De.22 The latter was one of the leading members of a group of «neo-Tantric» artists newly promoted by New Delhi gallerist Virendra Kumar Jain, the older brother of Tantra Art's publisher, Ravi Kumar.23

At three locations in Basel — the Kunstmuseum and the Museum für Gegenwartskunst as well as the Kunsthalle — the show traced a long arc from the early twentieth to the dawn of the twenty - first century and invited audiences to experience the different ways painters had explored and scrutinized their world.

Reviewing the beloved early twentieth - century Italian painter Giorgio Morandi's hugely popular 2008 retrospective exhibition, The New York Times» Holland Cotter wrote, «Aspirants to the role of painter - as - poet are many.

Encompassing over seventy works drawn from public and private collections throughout the United States and Europe, Dutch Utopia: American Artists in Holland, 1880 - 1914 examines the work of forty - three American painters drawn to Holland during the late nineteenth and early twentieth centuries.

By making Frank Stella, Robert Rauschenberg, Mark Rothko, and Ad Reinhardt the sole artists represented, the narrative of a purely New York phenomenon is promulgated, drawing a line of demarcation between these painters and the European modernists who tested the dark palette in the early twentieth century.

New York photographer Alfred Stieglitz (1864 — 1946) befriended and championed several of the most visionary modern painters to emerge in early twentieth - century America.

However, once in power, Lenin replaced the Wanderer Group with a new Association of Artists of Revolutionary Russia (AARR), which became popular with traditional painters rebelling against the European Cubist and Surrealist - inspired abstract movements of the early twentieth century.

Panter liked George Grosz and other early - twentieth - century painters, saying, «We could learn from art up to 1920 forever.»

In addition to showing works by early twentieth century famous painters such as Picasso, Braque, Dubuffet, and Kurt Schwitters (creator of the Merzbilder collages and the «Merzbau», a whole building filled with objets trouvés, destroyed by Allied bombing in 1943), the exhibition also showcased assemblages by American artists such as Man Ray (1890 - 1977), Joseph Cornell (1903 - 73) and Robert Rauschenberg, as well as lesser Californian assemblage artists such as Wallace Berman, Bruce Conner and Edward Kienholz.

During the early twentieth century in particular, Mayo and Galway were magnets for plein - air painters who believed in the purity and authenticity of West of Ireland culture.