Sentences with phrase «figurative forms seen»

The artist looks to the use of geometry in Islamic art as opposed to figurative forms seen in other artistic traditions.

Not exact matches

A unique amalgamation of artist, Spiritualist and medium, the fascinating and unexpected story of Houghton has generated international interest from curators and writers who see her work as representing an abandonment of figurative form that anticipates the development of modern abstraction by artists such as Kandinsky or Malevich by several decades.

After leaving the field of clinical psychology in the mid-1940s, Truitt began making figurative sculptures, but turned toward reduced geometric forms after visiting the Guggenheim Museum with her friend Mary Pinchot Meyer to see H.H. Arnason's exhibition «American Abstract Expressionists and Imagists» in November 1961.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

15 October: William Tucker RA at Pangolin London — Explore the later development of Tucker's robust approach to the figurative form: see a selection of maquettes, monumental bronzes and watercolours from the last four decades.

The encounter had its influence on Caro's practice too, turning him away from the figurative style that had characterised his work at that time and progressing toward the geometric forms he had seen in Noland's work.

During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two - year hiatus from painting.

The 80s would see the Bacon simplifying his pictorial language; his figurative work would often allude to human form rather than always depicting it.

Anyone can see that the early Russian paintings in this show are a breathtaking escape from the old conventions of figurative painting, or that geometric art in the hands of great Latin American pioneers such as Oiticica and Lygia Pape is an escape from the ancien regime of the west, that their ecstatic floating forms are a vision of freedom.

In fact this exhibition is organized in a way that allows the viewer to see the artist's progression from figurative to abstraction and how simple vegetal forms (the gnarly tree limbs, the nudes) would later reemerge as twisted abstract forms mounted onto pedestals.

An earlier Tate Gallery catalogue entry has suggested that single stone forms such as this may be seen as re-interpretations of Hepworth's early figurative work in similar materials.

He sees abstraction as a form of gesture or geometry, in a superimposed position, sometimes combined or mixed with new figurative shapes.

Already, we see the young artist negotiating between the abstract and figurative, reducing organic forms into geometric configurations and using the branches of trees as a way to frame or delineate space.

The 18th century witnessed wonderful human forms created by William Hogarth, (see also English Figurative Painting) and the academic classicist J.A.D. Ingres - see his Valpincon Bather (1808).

The encounter had its influence on Caro's practice, turning him away from the figurative style that had characterized his art at that time and toward the kinds of geometric forms he had seen in Noland's work.

In 1999 Balka stated that Oasis (C.D.F.) is the first sculpture he produced that does not include a figurative representation of the body (see Balka in Tate Gallery Cataloguing Form, 12 November 1999, p. 3, Tate Artist Catalogue File, Miroslaw Balka, A19309).