Ranging
from figurative paintings of old Qatar to calligraphic abstracts, Ahmad's retrospective (which runs until 14th February) reveals the broad range of Qatari art, through the work of a single artist.
Keir Smith: From Wall to Floor focuses on the artist's work made in the 1970s and early 80s, a time when he made the transition
from figurative painting into sculpture, experimenting first with process - based art and performance before moving into a landscape setting.
She moved away
from figurative painting during her yearlong residency in Paris in 1949, and by 1958 she developed a lyrical, experimental, gestural abstraction affected by feeling, memory, and landscape.
As Burri kept the
distance from figurative painting by adding from time to time a new shape to his investigation into the world of conceptualism, Quaranta takes it all in one time.
Soon after, Vedova signed the Oltre Guernica manifesto in Milan 1946, which advocated that painters extend the tradition of Picasso's famous anti-fascist Guernica (1937), and
depart from figurative painting altogether.
Constructed of torn newspaper pasted to wire armatures and loosely painted with a wash of casein, the sculptures in that exhibition marked a radical
departure from the figurative paintings and drawings that had dominated Oldenburg's artistic production in the preceding years.
Lucile Camus» practice
developed from figurative painting into striking graphic works using mark - making and endless repetition to reflect on the act of making and the passing of time.
He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic
direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.
By the mid-1950s, Calderara began to move
away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.
His broad practice, which
ranges from figurative painting to film and performance, explores the complexities of the flawed, yet enduring myth of the American West.
21 March - 23 June 2013 Upper Sculpture Study Gallery Archival exhibition focusing on the artist's work made in the 1970s and early 80s, a time when Smith was making the
transition from figurative painting into sculpture, experimenting with process - based art and performance before moving into a landscape setting.
The display will include works that span his long and productive career,
from the figurative paintings of the 1940s to the Perspex square reliefs he made in his later years, which will be displayed across the ground floor of the gallery.
Styles and subjects they chose differed,
from figurative painting, where individual narratives were expressed, to representing different archetypes that stand for general experiences.
We have collected Rogers through the years,
from his figurative paintings to the newer abstract ones.
In the late 1950s Jeffrey Steele (b. 1931) moved
from figurative painting to creating monochrome abstract works.
The exhibition assembles the artist's work in a span of media and styles:
from the figurative paintings of her early «visceral» period in the»60s, up through experiments in photomontage, photocopying and «geopoetry».
Estimated at # 15m — # 25m, it is a rare work dating from the artist's expressionist moment and marks his transition
from figurative painting to abstraction.
From his figurative paintings of the 1940s and lyrical abstract works of the 1950s and 1960s through to his geometric pieces and later Perspex square reliefs, the exhibition also includes works never before put on public display.
This sensitivity to process is the exhibition's strongest card, considering it is one that spans his entire half - century career,
from figurative painting, to expressive sculpture and, in the end, completely abstract work that had an unprecedented impact on the future of the arts.
Ranging
from figurative painting, illustration, and comic book drawing to tattoo art, poster design, and mural making, the work is stylistically original, often incorporating experimental techniques or elements of the handmade.
Explaining her shift away
from figurative painting, Zacarías says, «I feel like abstraction really allows for the story to be filtered and to come out in a different way in which people can see it or not see it at all.»
Beginning in 1921, a series of creative breakthroughs led Davis away
from figurative painting and toward a more abstract expression of the world he inhabited.