Sentences with phrase «from cubism»

The resulting Venice Guggenheim collection, with masterpieces ranging in style from cubism and surrealism to abstract expressionism, has become one of the most visited cultural attractions in Venice.

Elizabeth Murray's genre - bending 1998 painting fused abstraction and pop, while drawing on everything from cubism to surrealism, the comic books she religiously read and drew as a kid in Chicago, and the graffiti she saw plastered across the walls of 70s and 80s New York.

The destruction of traditional perspectival space in the picture plane has defined everything from cubism through Ellsworth Kelly and Andy Warhol all the way up to Takashi Murakami at the turn of the millennium, making «flat» one of the prime qualities sought in good, honest painting.

It doesn't come from cubism or out of some formal innovation.

I loved his satirical cartoons and accepted his separation of art and politics, and learned to appreciate his pathways from cubism to pure abstraction.

The only shortcoming of «Robert Motherwell on Paper» is its inclusion of too few of the collages, both early and late, that show him pacing off his distance from cubism.

In the early 1930s, Diller's art evolved from cubism to non-objective neoplasticism.

Not exact matches

The retrospective featured 75 significant works of art from Braque's career, showcasing his achievements in modern art and influential development of cubism.

... if one looks at oils like «The Homely Protestant» (1948) or even the ur - version of «Elegy to the Spanish Republic» (also 1948), one sees that he has learned to combine straight lines with curves and rounded forms, not really surrealist but liberated from the strictures of cubism.

Drawing from the art - historical lineage of cubism, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities which define the perils of human evolution.

But Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes.

During that time, her painting evolved from realism to cubism, abstract impressionism, and finally her own style of abstract art.

I saw these [interactive works] as extensions of cubism, because you're looking at something from all sides.

Diego Rivera lived in France and Spain from 1907 until 1920 and witnessed first - hand the beginnings of cubism, dadaism and abstraction.

For Maurer the departure from Paris was painful, but he continued to increase his mastery of modernism, assimilating aspects of cubism and even venturing into abstraction at a time when such developments were anathema to popular opinion in the United States.

The 1940s in New York City heralded the triumph of American abstract expressionism, a Modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, surrealism, Joan Miró, cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham.

Drawing from the art - historical lineage of cubism, graffiti, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Aaron Curry's eagerly awaited survey exhibition at CAPC musée d'art contemporain de Bordeaux next summer is as much about the breakdown of the human condition as it is the absurdities that define the perils of human evolution.

Arshile Gorky's portrait of someone who might be Willem de Kooning is an example of the evolution of abstract expressionism from the context of figure painting, cubism and surrealism.

These «Modernist» landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the expressionist paintings of Wassily Kandinsky starting in 1903, and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque, and others, in the years between 1900 and 1910.

Works from this period, 1948 - 1954, represent Caziel's departure from figuratively informed cubism, and the start of his search for a new abstract language.

Drawing from nature too, will incorporate the natural world at some point, focused on the nude and expressionists cubism at the moment, times call for it.

The tie to cubism is unmistakable, with each work pulsating between seamless cohesion and fracture, using forms familiar from modernist collage.

Working on a wall - filling scale associated more with painting than printmaking, Gueorguieva draws from several 20th - century styles, including cubism and abstract expressionism.

Roberto Longhi presents twenty - two sculptures reminiscent of cubism by Leoncillo, while Giampiero Giani introduces the Sculture spaziali by Fontana, who exhibits not only the «holes» but also some works from the 1930s and 1940s.

As Williams explains, Diller, born in 1906 in the Bronx, experimented with cubism in the early»30s, as the earliest work in the exhibition, an untitled graphite drawing from 1930, makes clear.

He drew from a repository of styles — adapting tendencies in cubism and surrealism to transform figures into biomorphic shapes and developing his own highly personal vocabulary.

Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from about 1908 through 1912.

As such, they are the outcome of a lyrical combination of both Eastern and Western visual histories that range from Chinese scroll painting to European cubism.

This welcome shift away from white - cubism continued at Sadie Coles, where all - around, red wallpaper by the late Angus Fairhurst framed both drawings by the artist and one of his mirror - gazing gorilla bronzes.

It seemed that if one wanted to get away from such things as the American scene or social realism and perhaps cubism, this offered a possibility of a way out, and the hope that given a subject matter that was different, perhaps some new approach to painting... might also develop.»

For 16 years, Llewellyn has studied and practiced many different art forms ranging from action painting, cubism, and abstract art.

Sultan writes that the works on view, «drawn from the museum's extensive collections, [are] a fascinating survey showing the enduring interest in cubism's way of... taking apart of the visual world and reassembling it in flat planes, a new understanding of form.»

Drawing on its own collection for Cubism 2.0, Hanina Fine Arts does not attempt to enter into the complex documentation of the movement; rather it presents 18 works by artists from France, Hungary, Russia and the US who shared the aims of cubism as applied to landscape, still - life and quotidian life.»

Then there's Lisa Yuskavage's scene of her internal mindscape that reveals her sophisticated art historical knowledge that unifies Renaissance art, cubism, surrealist art, pop art, whatever images that spring from past to popular contemporary culture.»

The Los Angeles - based artist's large - scale works experiment with cubism and abstraction from both microscopic and topographic viewpoints.

From this cultural collision emerged a style whose roots lay abroad — for the most part in cubism and surrealism — but whose look and meaning were without precedent.

His work from 1915 to 1930 suggests his increasingly critical interpretation of cubism and Fauvism.

, propagated a style that blended influences from French cubism and Italian futurism into an independent British modernism.

Analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912.

Featuring paintings from the collection of the Solomon R. Guggenheim Museum by artists such as Constantin Brancusi, Marc Chagall, Marcel Duchamp, Vasily Kandinsky, Fernand Leger, Henri Matisse, Amedeo Modigliani, Piet Mondrian and Pablo Picasso, among others, the exhibition chronologically traced the achievements of these tumultuous years as artists experimented with new ways to create art while launching such movements as expressionism, futurism and cubism.

Their treatment of color and the shape directly led to Fauvist and Cubist art explorations and reductionistic depictions of nature at Henri Matisse and Georges Braque, consequently leading to Pablo Picasso and turn from Analytic to Synthetic cubism.

The title takes its cue from a poem by Gertrude Stein, who more than one hundred years ago was seeking a literary equivalent to cubism and attempted in her prose to «banish memory» to «articulate a continuous present where writing recreates itself anew in each successive moment.»

Objects are separated from their original context, introduced into new settings, re-assembled but always return to the spatial relationship also seen in cubism.

Drawing from the art - historical lineage of cubism, graffiti, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities that define the perils of human evolution.

His privileged background might also be said to dovetail with his genre - bouncing «in his early career, from impressionism to cubism «but there is little dilettantism to Picabia.

The exhibition title derives from Smith's recollection that his concept of «cubes and anarchy» stemmed from the painter John Sloan, his teacher at New York's Art Students League in the 1920s, who exposed him to cubism, constructivism, and progressive social movements.

This painting shows Duchamp's movement into almost total abstraction from the semi recognisable forms of cubism he previously explored.

Most scholarship has viewed Smith's early work as developing in a linear fashion, from the European influences of Picasso and cubism in the 1930s; to a figuratively based, highly detailed, American surrealism in the 1940s; to a lyrically abstract, expressionist expansiveness in the 1950s; culminating with the seemingly disconnected breakthrough embodied in the reduced, geometric monumentality of his final works.

LACMA «s exhibition title derives from Smith «s recollection that his concept of — cubes and anarchy ‖ stemmed from the painter John Sloan, his teacher at New York «s Art Students League in the 1920s, who exposed him to cubism, constructivism, and progressive social movements.

In works from the late 1970s and 1980s, he employed a brightly hued palette and fractured cubism to change perspective, and his interest in the works of Picasso and his experiments with Polaroid photography are mirrored in his work of this period.