Sentences with phrase «female figure in her paintings»

Nancy Spero began using only the female figure in her paintings to push back the limits of her world.

Not exact matches

Their flickering, rhythmic arrangement suggests harmony, yet a single female figure (perhaps Faust's Gretchen) looks on, equally at home in the painting, supported by a kneeling red figure.

This period, and these female figure paintings, set the stage for Tworkov's transition into larger - format canvases in the early 1950s, when he loosened his line and painted mostly abstract compositions, relying on the figure.»

In lush evocations of the female form, such as Nude — Elbow on Knee (above), painted in 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figurIn lush evocations of the female form, such as Nude — Elbow on Knee (above), painted in 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figurin 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figure.

In turn, they would give rise to his fetishistic furniture sculptures of female figures, paintings of women in rubber and exaggeratedly high heels, and their subject matter would lead him on to explore novel techniques of relief printmaking in the later 60'In turn, they would give rise to his fetishistic furniture sculptures of female figures, paintings of women in rubber and exaggeratedly high heels, and their subject matter would lead him on to explore novel techniques of relief printmaking in the later 60'in rubber and exaggeratedly high heels, and their subject matter would lead him on to explore novel techniques of relief printmaking in the later 60'in the later 60's.

But in the background of this stunning tableau, if you meditate closely on the painting, you will see a portrait of a powerful, other - worldly female figure, almost larger than life, with large bright eyes, wearing a turban, sharply observing everything, as if she herself were keeping all the other elements in balance, in some mystical powerful way.

The exhibition opens with Himid's monumental Freedom and Change, 1984, which appropriates and transforms the female figures from Picasso's Two Women Running on the Beach (The Race), 1922, into black women, powerfully and humorously subverting one of the most canonical paintings in Western art history.

De Kooning is well known for paintings of the female figure that transcend traditional figurative and abstract categories and break up conventional aesthetic frames of reference by maximizing the expressive power of paint in line and color.

This large - scale bronze playfully casts the classical female figure, reimagined in Giorgio de Chirico's surreal paintings, as if she is made of crudely carved polystyrene, further debunking the fetishized art historical form.

Coupled with Joffe's direct and unorthodox sense of characterization, her particular style of painting in turn gives an uncompromising sense of strength, complexity and momentum to the female figures she portrays.

«In the first years this decade, Judy Glantzman's paintings were of the single figure, painted and repainted: female, with multiple personalities and isolated in spacIn the first years this decade, Judy Glantzman's paintings were of the single figure, painted and repainted: female, with multiple personalities and isolated in spacin space.

A small, flat silhouette in the shape of a vessel is painted on one side with a nude female Venus figure, and on the other side with abstract patterns in washy colors — a careful method with a quick look inherited from Modern painting masters.

Further reflecting his interest in the notion of trilogy, each painting relies on three key elements; the silk screened texts by Blanchot, the female figures and hand - drawn phrases such as I Love You Too Much and You Take My Breath Away, which are also the titles of the works.

Faerie on the Chair and The Plump Nude show the rare female figure in portrait paintings.

In the 1972 painting «Express,» a barefoot female figure with blown - out cheeks and a sex - doll mouth is an incandescent vision of anger and control.

Utilizing found objects to create an otherworldly yet traditionally based format, the image of a large female figure and its smaller companions are done in the style of traditional Indian painting, while delicate fabrics interweave amongst images that swirl and stream within and outside the two wooden panels — thus making it engaging and contemplative to look at.

To See Beyond Its Walls (and access the places that lie beyond) combines a large - scale painting of a female figure with a reimagined interior of Sans - Souci Palace (1813) in northern Haiti, tracing conflicted histories and current political contexts of Hispaniola (the shared island of the Dominican Republic and Haiti) and America.

As a coda to this narrative, the exhibition includes Pearlstein's most recent paintings, a series of three canvases completed in early 2015: nude female figures are animated with vibrant animal masks as they lounge and recline over Navaho rugs.

Often playing with images and materials associated with beauty and desire, Hamilton repeatedly uses sculptural cut - outs of film stills or women's legs made from transparent plastic and wooden shapes based on Modernist depictions of female nudes such as the curvy abstracted figure found in her 2007 piece The Piano Lesson, based on Fernand Léger's 1921 painting Le Grand Déjeuner.

A modern abstract painting by American female New York City artist Irene Zevon titled Reclining Figure created in 1954.

On top of that, Ofili used cut - out images of female genitalia from pornographic magazines to make butterfly - like figures that float in the painting's background, like unholy cherubim.

Adding to the tension and sense of voyeurism in these paintings, there is often a seemingly aristocratic small child or older gentleman lurking in a corner or shadow, the female figure entirely unaware of or indifferent to their presence.

Derived from a painting of the same title, The Brite Spot involves the viewer in a vague yet intriguing narrative: two female figures are pictured in a bar setting, and while one appears to be dancing, a melancholic mood nevertheless permeates the work.

The figure in this painting is more androgynous than those that feature in two similar standing female nudes, Nude, 1961, and Figure Turning,figure in this painting is more androgynous than those that feature in two similar standing female nudes, Nude, 1961, and Figure Turning,Figure Turning, 1692.

Kilimnik's paintings are bright, brushy and colorful, and range in subject matter from Romantically inspired landscapes to kitschy gilded interiors and from proud, resplendent felines to enigmatic, smiling female figures.

In lush evocations of the female form, such as Nude — Elbow on Knee, painted in 1961 ($ 800,000 - 1,200,000)-- he continued many of the pictorial innovations of the prior series but nestled them within an intimate portrayal of the human figurIn lush evocations of the female form, such as Nude — Elbow on Knee, painted in 1961 ($ 800,000 - 1,200,000)-- he continued many of the pictorial innovations of the prior series but nestled them within an intimate portrayal of the human figurin 1961 ($ 800,000 - 1,200,000)-- he continued many of the pictorial innovations of the prior series but nestled them within an intimate portrayal of the human figure.

Named for African - American abolitionist and women's rights activist Sojourner Truth, Parsons paints strong female characters, like the scintillating, silhouetted figure smoking in the darkness in her large - scale work Anthony at Night with the butterflies (2016).

As a leading member of the Abstract Expressionists, de Kooning startled much of the art world with the introduction in 1953 of his Women paintings, that «bore clearly recognizable images of females figures, and thus rejected the commitment to non-objectivity that previously characterized his own work and Abstract Expressionism more generally.

The exhibition comprises of new painting, which portray female figures and objects in underwater settings.

In those paintings, she depicted 19th century female figures positioned in an abstracted landscape of botanical motifIn those paintings, she depicted 19th century female figures positioned in an abstracted landscape of botanical motifin an abstracted landscape of botanical motifs.

In these particular paintings, the motivating kind of force was the idea of Salomé, which led to a certain kind of figure, primarily a female figure.

Dorothy Iannone started her practice in the 1960s making vivid and energetic paintings, drawings, prints, videos, and objects portraying female and male figures in situations of physical union and ecstasy.

In 2007 he received the National Medal of Arts from George W Bush and in the same year, in the Springfield Up episode of The Simpsons, Mr Burns has a painting of Wyeth's iconic Christina's World, 1948 — MoMA Collection, bought in 1948 for $ 1800 — in his den, except that in his version Burns lanky body replaces the more shapely female figurIn 2007 he received the National Medal of Arts from George W Bush and in the same year, in the Springfield Up episode of The Simpsons, Mr Burns has a painting of Wyeth's iconic Christina's World, 1948 — MoMA Collection, bought in 1948 for $ 1800 — in his den, except that in his version Burns lanky body replaces the more shapely female figurin the same year, in the Springfield Up episode of The Simpsons, Mr Burns has a painting of Wyeth's iconic Christina's World, 1948 — MoMA Collection, bought in 1948 for $ 1800 — in his den, except that in his version Burns lanky body replaces the more shapely female figurin the Springfield Up episode of The Simpsons, Mr Burns has a painting of Wyeth's iconic Christina's World, 1948 — MoMA Collection, bought in 1948 for $ 1800 — in his den, except that in his version Burns lanky body replaces the more shapely female figurin 1948 for $ 1800 — in his den, except that in his version Burns lanky body replaces the more shapely female figurin his den, except that in his version Burns lanky body replaces the more shapely female figurin his version Burns lanky body replaces the more shapely female figure.

A bubbly, welcoming figure in person, the artist seems a far cry from the firebrand who challenges cultural perceptions of the female body (take her «Plush» series of photographs of women's pubic hair, a commission for Playboy that never ran), and the fashion and beauty industries (in erotically charged, lush yet disquieting paintings like 2007's Blue Poles, a close - up of heavily shadowed eyes).

The female figure is a constant motif in her work, and each painting stands as a kind of self portrait by presenting notions of femininity which reflect her own experiences.

Using thick, rhythmic brushstrokes, he gesturally paints elegantly distorted female figures interacting with various animals in an intriguing suspension of reality.

In a standout painting here titled The Dicky (1986), five pantless female figures assist a beleaguered man in slipping a pumpkin - orange false shirt - front over his heaIn a standout painting here titled The Dicky (1986), five pantless female figures assist a beleaguered man in slipping a pumpkin - orange false shirt - front over his heain slipping a pumpkin - orange false shirt - front over his head.

Two female figures in profile were painted as one bright yellow silhouette and below their feet, gradually moving from the foreground to the background, were four frontal ghost / angel - like images (the constant polarity of good and evil was of particular interest to Thompson).

«If we went back, if we went all over the world and looked at every object, every statue, every painting that included a black female figure in any way, and wrote every title down, what would art's epic sing then?

New York - based Ruby Sky Stiler forges sculptures and mosaics in which Amazonian female figures become one with ancient patterns and symbols, while Copenhagen and Berlin - based Alexander Tovborg's saturated, symbol - laden paintings draw from folk art and mysticism.

While portraiture and human figures are prominent in the work of current British figurative painting, they are few and far between in Carnegie's recent works, with a solitary seated female the only painted figure present in her solo show at Andrea Rosen in New York this spring.

In her new series of self - portraits, consisting of loosely painted gouaches and finely stitched silk and wool embroideries, Emin uses a limited colour palette to depict an isolated female figure within a domestic setting, spatially framing the body against a chaise longue or at the foot of a bed.

Your viewers have to deal with psychologically charged paintings paired with sometimes ambiguous titles, such as The Angel (2013), where a beautiful female figure wears a pink nightgown, but her head is tilted down, and her face is covered in black.

She shifted to paintings only of the female body, usually solo although the dialectical dance of two figures in the earlier erotic works is continued in one of the most intriguing conceptual devices in the current show, the layering of an open - outline figure across fully rendered figures, sometimes at the same scale, sometimes in a different scale, as in Double Embrace.

Known for his intimate figure paintings — especially of the female nude — and delightful portraits of Parisian socialites, Renoir has collected a cast of characters who still very much play a role in contemporary art today.

Her mature artistic style was faux - naïve, featuring paintings whose subjects, furniture and clothing set in doll - house type interiors and suburban landscapes, were stand - ins for the implicitly female figure.

Often he squirted the pigment at his figures without touching a brush - «my tube is like a rocket, which describes its own space» - or laid it on thickly with a palette knife: Reclining Nude of 1966 (in a private collection) is less concerned with the female body than with the «tangible sensuous experience» of painting.

Many things on display in «14 Rooms» would make for excellent clandestine iPhone photo fodder: there's Damien Hirst's Holly, Gretel, in which two identical twins were reading the same Jodi Picault novel under a Hirst spot painting; Marina Abramovic's Luminosity, from 1997, featuring a nude woman suspended on the wall and washed in the glare of a spotlight; an early Bruce Nauman performance called Wall - Floor Positions; and, as an epilogue, Jordan Wolfson's [Female Figure], the now - famous robot that was on view at David Zwirner earlier this year.

This exhibition traces a narrative of Schor's work since the early 90s to the present, from Semi-colon in a Flesh Comma (1994) which punctuates the text of the female body, and Undue — a section of War Frieze, her major 1991-1994 200 - running feet long multiple canvas work on militarism and aggression, painted in the aftermath of the first Gulf War but still as timely today — through representations of the nature of artmaking itself — the sign, the trace — to the empty thought balloon when grief has left the artist at a loss for words, to her most recent works schematically figuring the artist as thinker, reader, writer in an uncertain world.

The 9 - foot - tall paintings depicting female figures will be shown at the Venice Biennale opening in May.