Sentences with phrase «figures in the landscape by»

In such works, Cézanne was reinterpreting a long tradition of paintings with nude figures in the landscape by artists such as Titian and Poussin.

Not exact matches

Weekly business magazine Challenges reported two weeks ago that Bollore, one of the most prominent figures on France's corporate landscape, had been summoned by judges investigating whether his advertising group Havas was involved in influencing elections in West Africa.

Wandering the mountainous landscape, gorgeously photographed by veteran cinematographer Dean Cundey (Apollo 13, Who Framed Roger Rabbit, Jurassic Park), the psychically tortured protagonist has a series of run - ins with various figures, including a sympathetic Indian (Adam Beach), a Chinese immigrant (Tzi Ma), an old war buddy (Danny Glover) and, most memorably, a vicious killer named Ezra (Walton Goggins, stealing every scene as usual) who demands a «toll» from Jackson for encroaching on his territory.

At the Met, sixty works carefully chosen from the Lehman Collection offered a rapid, staccato trip through the history of European art, distinguished by such spectacular inclusions as a scrupulously observed walking bear by Leonardo da Vinci, from the late quattrocento, a cranky Dürer self - portrait from about the same time, an exquisite Fra Bartolomeo landscape of figures moving through mountainous terrain, from the very beginning of the cinquecento, and a startlingly intimate, casual study after Leonardo's Last Supper, drawn in red chalk by Rembrandt in the early 1630s, when he was still in his twenties.

Based on the theme of John Milton's Paradise Lost, they are a fusion of Indian mythological figures, hybrids of man and beast, warring in landscapes inspired by quattrocento and Renaissance painting.

Understood in their broadest definition, the drawings and photographs assembled here include a wide range of material, among which are an 1864 photograph of the forest of Fontainebleau by the little - known French photographer Constant Alexandre Famin; a pastel completed earlier this year by Jasper Johns; a 3 x 5 inch Cezanne figure drawing; a new 6 1/2 x 10 foot landscape drawing by Ugo Rondinone; a digitally - manipulated photograph of the musician Björk by Inez van Lamsweerde; a small piece by an outsider artist known as the «Philadelphia Wireman,» who carefully bound his drawings up with bits of wire so they are barely visible; a recent charcoal on canvas by Gary Hume; and a 1949 sketchbook by Tony Smith.

These playful fantasy realms are upon closer inspection macabre theaters of politics and war: watercolor paint bloodies the canvas, and sinister global machinations play out in abstracted landscapes populated by faceless figures and dominated by oil refineries and labyrinthine pipelines.

This exhibition brings together paintings and works on paper by Jane Freilicher and Jane Wilson — two notable figures in American art who emerged from the pursuit of rigorous abstraction to develop highly individual and beautifully compelling approaches to representation, fundamentally reinventing traditional definitions of landscape and still life painting.

Modern culture is reflected in his humorous portraits, landscapes and interiors by means of familiar political and celebrity figures, chain restaurants and box stores, and well - known brands.

Underlying themes such as the landscape as defined by bodies of water or recumbent and reflective figures gazing outward from interior spaces link the many journeys conveyed in the exhibited works.

Next to eleven large paintings made between 1998 and 2003, provided by the Mazzoli Gallery in Modena, there will also be a group of ten amazing new paintings portraying figures of great ebullience against backgrounds of poetic landscapes.

Throughout his career, Marshall has consistently sought to correct the under - representation of people of colour in Western culture by creating his own depictions of black figures (both historical and fictional) using the art - historical genres of history painting, portraiture and landscape.

By the beginning of his professional artistic life in the late 1930s, Pasmore had quickly established himself as an assured painter of lyrical landscapes, figures and still - life studies in a style that drew upon his familiarity with the work and writings of a number of post-impressionist masters such as Pierre Bonnard.

In Waterfall, 1943, an arrow sported by a figure straight out of Miró points downwards at an array of flows and obstructions, landscape turning sour and collapsing into gloriously unkempt profusion.

Fox was well known for his intimist figure and landscape paintings when in 1972 he began to paint large abstract works influenced more by European and American modernism than by a Québec sensibility.

The works build through a stream of images and ideas with a dreamlike, surreal feeling, to which Heffernan contributes by titling each one «Self Portrait...» In her recent paintings, the figure set in a tortured landscape functions as a metaphor for contemporary experiencIn her recent paintings, the figure set in a tortured landscape functions as a metaphor for contemporary experiencin a tortured landscape functions as a metaphor for contemporary experience.

Although Bischoff went on to paint colorful, thickly pigmented scenes of figures in interior or landscape settings for nearly two decades, by the early seventies he was, by his own admission, losing interest in the figure as subject matter.

A single large sculpture by Diana Al - Hadid that interweaves landscape, architecture, and the human figure will occupy a room in the 21st Century gallery beginning March 10 until September 2.

Ardent Nature: Arshile Gorky Landscapes, 1943 - 47 Ardent Nature: Arshile Gorky Landscapes, 1943 — 47, is Hauser & Wirth's inaugural presentation of works by Arshile Gorky, a seminal figure in the shift to abstraction that transformed twentieth - century American art.

The visitor sees him develop his work from an early loose style — fireworks in Dieppe flung across the canvas with impressionistic strokes — through bold and colourful portraits influenced by Matisse to figures and landscapes in the contrails of Cubism.

Figure shown with back to the viewer, alluding to landscape imagery made popular during the period of German Romanticism by painter Caspar David Friedrich in the 19th century.

The main gallery showcases paintings by the designer and street artist duo Graphic Airlines, populated with their signature ghostly, bloated - faced figures, alongside Mok Yat San's and Kevin Fun's fanciful sculptures and Lam Tung Pang's mixed - media landscapes, in which plastic models of floating islands hover above the Hong Kong cityscape.

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous Homage to the Square paintings.

The abstraction becomes a «landscape» for Rovner's perfect miniature figures to traverse in caravans, as if burdened by some great march through time.

Characteristic of Martin's unique form of narrative expression, the series incorporates era - defying visual sampling — think of Hans Baldung Grien and Gustave Doré working alongside comic artist Moebius — into a fantasy world of amusement parks, resorts, and experimental landscapes populated by figures engaged in unbridled acts across every facet of human experience.

This sense of vitality is echoed in the presence of musical instruments played by the figures, which resonates with the sense of sound and smell captured in the landscapes.

By no means are all of the figure paintings successful, but in painting them he was creating the conditions he needed to paint what came next: the fusions of landscape and architecture, light, colour space and line on which his reputation finally rests.

Featuring a bare - footed, decrepit figure in a barren landscape, it is believed by many to be one of his most important works.

A set of children - in - peril - themed collages (Untitled, 2010 — 3) by the self - styled outsider artist Alex Rose seems dislocated from the figure - free landscapes of most of the other works; while in A Fire in My Belly (A Work in Progress)(1986 — 7), by David Wojnarowicz, the only terrain discernible is an inner panorama of fear and shock.

Bas's landscapes are tropical and the figures set in these environments — boys at the edge of adulthood — appear entranced by the splendors that surround them.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

Exhibiting at Art Basel Hong Kong for the first time, PPOW is presenting a two - person booth that features historical paintings and drawings by the late Martin Wong, a self - taught Chinese - American painter and fabled figure of the East Village art scene that died from an AIDS - related illness in 1999, and glass - and - bronze sculptures that evoke elements of traditional Chinese landscape paintings from the Vermont - based Australian artist Timothy Horn, who's a recent addition to the gallery's stable.

The upcoming exhibition will be an homage to a leading figure in the landscape of post-war Italian art who wrote important chapters of contemporary art history by re-evaluating sculptural form and its relation to space.

Justine Kurland is known for fabricating fantasy worlds in her photography by placing the nude figure within lavish landscapes, creating idealistic settings occupied by mystical characters.

This exhibition joins three important contemporary artists who have each incorporated reminiscences of Pollock into their works in very different ways: Thomas Demand's work Barn, is a photograph of a paper reconstruction based on the mythical barn used by Pollock as a painting studio; Peter Doig's painting, Daytime Astronomy, takes as its starting point a central figure lying in the grass in an open landscape - the figure is based on a photograph by Hans Namuth of Pollock lying in the same position; while Andreas Gursky's work Untitled VI is a photograph of a Pollock painting hanging in the Museum of Modern Art, New York.

Seokmin Ko's new series of photographs Strip Show, of buildings and structures in rural and urban landscapes, brings to mind his previous series, The Square, of landscapes and cityscapes in which a mirror (held in the central part of the landscape photograph by a figure mostly hidden by the mirror) reflects back to the viewer more of the landscape — never the photographer.

In this exhibition domestic settings, institutional interiors and remote landscapes are bathed in cool, Nordic light and appear to have been deserted by the figures who so often inhabit theIn this exhibition domestic settings, institutional interiors and remote landscapes are bathed in cool, Nordic light and appear to have been deserted by the figures who so often inhabit thein cool, Nordic light and appear to have been deserted by the figures who so often inhabit them.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

This exhibition highlights the contemporary appeal of Oelze's work by featuring drawings and sketches of imaginary landscapes, fantastic objects, and figures that he drew in the years following World War II.

The undertaking often assumes form on the canvas as a solitary figure, shown in some sort of apparent psychic strife, in a fantastic if recognizably equatorial landscape: a slab of a man dwarfed by the tower of audio speakers on which he stands (Maracas, 2002 — 2008), a figure on whom cloisonné blooms from an overhanging tree collect (House of Flowers [See You There], 2007 — 2009).

Intrigued by the multiple complexities in Greenwold's paintings, Bui writes: «With their repeated penetration of lines, Greenwold's new paintings and drawings evoke Giacometti's existential angst, while the calibration of scale among figures, objects, interiors, and landscapes conjures Balthus's magnified psychological space.

These layers, produced by repetitive masking, embrace decorative patterns, animals and plants, figures, landscapes and written characters, and appear in incomparable texture.

By the mid-1960s the «Marlboro Man», as this figure became known, was so recognisable and brand - identified that Philip Morris was able to drop all direct references to cigarettes in its ads in favour of subtly alluring smokers to come, and be part of, the epic Western landscape of «Marlboro Country».

Others depict figures, including a double portrait by Brustlein seated with his wife on a bench in a landscape.

The artist's work delves further into the aesthetics and ideas explored in a 2015 series titled «Figures,» which feature indeterminate architectural structures that are overrun by an encroaching landscape.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

Nineteenth - century landscape paintings by a self - taught black artist hang on the walls, Baroque sculptures of dancing figures face each other in an otherwise sterile vitrine, and baseball caps from Knuckles's collection are displayed commercially in a row within that nearby open - ended vitrine.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

He proved that he could paint any subject he chose, and his oeuvre was marked by consummate treatments of the human figure, both nude and clothed, still lifes, portraits, interiors, religious and mythological subjects, drapery and colored papers as subjects in themselves, and to a lesser extent landscapes and cityscapes.

Influenced by her Art Institute instructor Leonard Ochtman, a landscape painter, Stacey specialized in figures posed out - of - doors, solidly rendered with the bright color of impressionist practice.