Sentences with phrase «from classical portrait»

Drawing inspiration from classical portrait painting of the 17th - century Dutch Golden Age to explore the relationship between her subjects and their environment, Dumas often presents her subjects as heroic, engaged in a struggle of sorts against their marginalization or confinement, and against the spatial and psychological encroachment of people.

From the classical portraits of Irving Penn, Richard Avedon and Timothy Greenfield Sanders, to symbolic portraits by Patti Smith and John Coplans, and those that tell stories by Adrian Peper and Carrie Mae Weems, Aspects of Portraiture: Photographs from the Wadsworth Atheneum examines social history, identity and race, and nostalgia for the traditional portraits that once defined photography.

Not exact matches

Ne Change Rien (Unrated) Musical bio-pic painting an intimate portrait of Jeanne Balibar, following the French chanteuse from rehearsals to recording sessions, and from classes to concerts, as she exhibits an enviable versatility by performing everything from hard rock to classical opera.

«Jaffa to Stamboul» is a really lovely piece with a charming melody heard initially for solo duduk over soaring strings; «Arrival» turns the tables a bit, with choppy strings providing real urgency, rhythmic accompaniment from percussion seeing the pace growing; then «The Orient Express» offers a full - on romantic musical portrait of classical train travel, full of buzz and energy and beauty, with a wonderful theme introduced (barely heard again, sadly).

The hotel is a 5 - minute drive from the old village of Mougins, where you can stroll around narrow streets filled with restaurants and art galleries, or visit the Museum of Classical Art or the Photography Museum (with several portraits of Pablo Picasso, who lived and died in Mougins).

This trick, in which an image is only legible from a single perspective, can be seen in classical paintings, such as William Scrots» 1546 portrait of King Edward VI.

Meanwhile Curator Claire Liley picked out some of her favourites as: «Thomas J Price's startling triple portraits of men of African origin from Hales Gallery, a six - metre - high ubiquitous toy - human gure by KAWS from Galerie Perrotin and some superb classical modern works by Magdalena Abakanowicz from Marlborough Fine Art».

The exhibition contains work from all areas of Mapplethorpe's principal aesthetic interests including; still lifes, portraits, figure studies, flowers, body fragments and classical statues.

Perhaps the first modern portraits, from classical Rome, often commemorate a spouse.

The exhibition juxtaposes this contemporary work with studio portrait work from the Camera Club Archives, fostering a discussion about the relationship between classical idealized studio portraiture and contemporary critical portraiture.

By reinventing the iconography of classical portraits from the 1400s, the Swiss - Italian artist unites past and present.

Katy Grannan's Deanna, Allentown, PA channels classical portrait compositions from art history, while Mickalene Thomas» female subjects assertively challenge the viewer with their sexuality.

The show will examine his understanding of form and light in the composition of formal portraits, still lifes and figurative works that celebrate the sensual quality of nature and the human body.The works relate strongly to the museum's permanent collection of fine art that includes portraits from the eighteenth and nineteenth centuries, Dutch old master still lifes and studies of the nude and human figure, a staple of western art dating back to the classical forms of Greek sculpture.

His fictional portraits amalgamate a range of sources, from classical sculpture to observed individuals in London's British Caribbean communities.

Equally striking in a much different way are the monumental paintings of Kehinde Wiley, who borrows from classical baroque paintings to create eye - grabbing backgrounds and compositions for his own contemporary self - portraits.

The Award - Winning portrait artist has developed a distinctive technique which draws influences from a multitude of sources, and her appreciation of a refined technique invokes classical portraiture but with a resolutely modern viewpoint.

More than 30 years pass over the course of the show, beginning with such influential elder statesmen as Barkley Hendricks — whose striking late 1970s portraits blend classical tradition and Pop Art with seldom - seen African - American subjects — and Robert Colescott — whose wildly satirical takes on racial stereotypes in the 1980s get still more edge from his vibrantly expressionist brush.

«Homer Was Swept Away» shows a classical Greek painting with heavy water damage in a bent frame, as if it had been swept away in a flood, while «George Washington Eroded» is a portrait of the first president, flaked, peeling and crumbling; it looks like the sort of thing archeologists from the year 3500 would extract from the ruins of what was the United States of America.»

[13] His work often made reference to religious or classical imagery, such as a portrait of Patti Smith [14] from 1986 which recalls Albrecht Dürer's 1500 self - portrait.

Formally, one can put his canvases in alignment with the representatives of classical modernism - from Henri Matisse to Georges Braque - but perhaps even more so with the holographic plant portraits of the 19th century.

Recollection, memory and nostalgia are present throughout the collection: Emin's Portrait from the past (2014) shows a figure in classical recline, reminiscent of many of her drawings but here detailed in embroidery on cotton.

Portrait from the past (2014) by Emin portrays a figure in the classical reclining nude pose.

A part of the fabled Vollard Suite — a group of 100 prints the artist created for the Paris art dealer in Ambroise Vollard in the 1930s that mingle the artist's erotic preoccupations and newfound obsession with classical forms — this piece functions as one of Picasso's many self - portraits - by - proxy, in which he imagines himself in the guise of a (usually priapic) artist from a different era, such as Degas or Raphael, often dallying with a model.

Gone are the outstanding features of a classical portrait that leave an impression of its subject; we're left with more of an anonymous depiction, which makes the act of existing into a statement but leaves little impression of its subjects and has one feeling distanced from the stiff men with their well - coiffed hair and matching signature suits.

Yet throughout his prodigious and successful career, he and his bustling workshop also created imposing altarpieces and smaller religious paintings for private devotion or collectors, striking portraits, depictions of sensual episodes drawn from the classical tradition, and majestic allegories glorifying the Venetian state.

In addition to artists from these specific schools, the twentieth century saw the emergence of several individual portrait painters, such as the versatile Graham Sutherland, the expressive surrealist Francis Bacon, the classical Lucien Freud and the famous «impastoist» Frank Auerbach.