Sentences with phrase «from painting genres»

Known primarily as a painter, she creates works that reflect on historical notions of what constitutes art, ranging from painting genres to «acceptable» art experiences.

Not exact matches

In a gracefully detailed interpretative narrative that stretches from ancient Greek and Roman mosaics to twentieth - century paintings, art historian Ebert - Schifferer presents the long and fascinating history of the still life, a highly symbolic genre.

Drop in any day to take in art of all genres — from fine photography to vibrant Gullah / Geechee paintings — all in a bright, exciting, 19,000 - square - foot loft space.

Exotic and antique car designs, details from scratched paint jobs after collisions and diverse environments have never looked better than they do now and any true racing genre fan will appreciate this fact.

Optical painting may look anything but emotional in its content, but its direct engagement with the viewer underscores a deep - seated longing to connect... The genre has matured considerably over the past half - century, veering from cheap tricks toward labor - intensive analyses of form and color, and a deeper understanding of the act of seeing.

Marshall has done this «from the ground up,» as Metropolitan Museum curator Ian Alteveer put it, working through historical styles and genres, including Rococo love scenes, large - scale history paintings, and Impressionist plein air fetes.

This will be after taking in Robins sculpture, and Gary Wraggs paintings in Deal.Great that there are two shows of British Abstract Painting and Sculpture on at the moment.With Bill Tucker at Pangolin and Sams cracking show of 60s colour in Liverpool, Abstraction is far from a dead issue.Indeed there is a symposium by Matthew Macauley at a northern university [to be confirmed] coming up, with requests for papers.Two very good painters rang me to say go and see the Picasso show at Tate Modern, which I did.It was stunning and there were probably eight or so masterpieces in one room from one year!Tony and Sheila Caros show in Peterborough and Graham Boyd at the Cut, Frank Bowling in Dublin and Scully in Newcastle, Mali Morris at Women can't Paint at Turps Banana, loads to see, enjoy, think about and stimulate new work.I hope there are all those hungry [artistically] young Abstract Painters and Sculptors out there keen to extend the genre.!

Characterised by its fluidity between genres, his diverse output ranges from paintings, sculptures and murals to furniture and even entire buildings.

«Colescott, Marshall, and Thomas all lay claim to the [genre of history painting], but with a poignant retelling of American history from a Black perspective, giving prominence to histories and individuals that have been erased or suppressed.»

The experience led Chambers to perceptual realism, which was as much a philosophy, rooted in Catholic doctrine and the writing of the French phenomenological philosopher Maurice Merleau - Ponty, as it was a style of painting; and it marked a radical departure from his previous work, which cut a wide swath across a variety of genres.

The artist's initial inspiration for these works comes from casta painting, a seventeenth - and eighteenth - century genre characteristic of New Spain and particularly prevalent in colonial Mexico.

An intriguing exception, at Context, was a 10 - gallery showcase of South Korean artists, all individually compelling and working in mediums ranging from textured painting to layered glass, though so similar in their subtle sensibility that they struck me as a collective, or even, a genre.

In many ways, each painting from this genre is an open letter to an enemy.

Some of Lichenstein's greatest works evolved from imagery drawn from popular culture: advertising images, war - time comics, and pin - up portraits, as well as traditional painting genres such as landscapes, still lifes, and interiors.

The work of both artists spans the majority of the 20th Century, from late 1920s until the end of the of the 1970s, and reflects their reevaluation of Post-Impressionism and various phases of Cubism, employed through well - established genres of still life and landscape painting.

This exhibition explores nearly 200 years of paintings in the genre, from the realism of the 18th century to Modernism, Pop art and beyond.

The early works, such as Botticelli's Virgin Adoring the Sleeping Christ Child, which has not been exhibited outside of Scotland for more than 150 years, are religious paintings while later works from the Renaissance masters, 17th - century painters, Impressionists, Post-Impressionists, and Cubists include different genres of paintings such as portrait, still life and landscape, and represent the changing treatment of those genres over time.

From the first experiments with aerial perspective, to the Impressionists» revision of painted light, to records of the creeping modernisation of the 20th - century countryside, landscape has long been a popular and experimental genre in art.

Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.

In other paintings from the 1930s, Morandi's aptitude for experimentation within the confines of his genre is on full display.

On the other hand, the classical works included in the exhibition — dating from 1970 — 80 — are some of the most superbly wrought paintings in this genre that can be found anywhere.

From traditional and non-traditional paintings on canvas, to sculpture, video and photogram collages, this body of work transcends historical perceptions of abstraction and challenges the boundaries of the genre.

She received her BFA in Painting with honors from the School of Visual Arts, New York in 1988 and her MFA in New Genres, from the University of California, Los Angeles in 1992.

Although her work results from deep observations of the history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends classical notions of genre and narrative as she invites viewers into a delicious domain of confident brush strokes with a new aesthetic.

From afar or at a quick glance, Lisa Alvarado's pieces seem like an accomplished innovation that remains within the genre of maybe color field paintings.

Still, perhaps defining the works as anomalies is Hecker's acknowledgment that she is adopting painting styles, materials, and genres that have been all but banished from contemporary art.

The works date from Japan's Edo period (1615 --- 1868), and include examples from the genres of Literati, Zen, Rinpa and Individualist painting.

Approx. 450 important paintings of scenes from history and literature, landscapes and seascapes, genre scenes, still lives and portraits will be presented.

The artist draws her content from many sources, including American slave narratives, genre paintings, Civil War battle reenactments, and «bodice ripper» romance novels.

Laura Owens is known for starting fresh on each new painting, untethered to her previous works, and combining influences from all genres of art history, high or low.

It became world - renowned in the 1850s when the genre and landscape painting associated with the «Düsseldorf School» — a century's worth of painters including Peter Behrens, Hans Dahl, and Otto Hupp, among many others — gained widespread international attention, attracting students from the United States, Scandinavia, and Russia.

Kass» Warholesque paintings of Streisand in Yeshiva drag from the film Yentl, titled My Elvis, are an example of the artist's genre - and gender - bending sensibility.

Still a relevant genre in the 21 century, landscape painting is taking new and unexpected turns ranging from figuration to abstraction.

Works such as Three Studies for Figures at the Base of a Crucifixion (1944) borrowed from much earlier genres and paintings by other artists, but sexualized, twisted, and modernized their subjects, making them more representative of his haunts in London's seedier districts.

Highlights of the European art collection include English genre painting of the nineteenth - century as well as examples of French post-Impressionistic painting from the late nineteenth and early twentieth century.

Steeped in the academic tradition of painting, Brown draws from the compositional structure, historical motifs, and virtuosic brushwork of master painters across a diverse range of genres.

In the wide range of art the gallery offers, subjects range from water and beach scenes, boats, landscape, flower arrangements, graphic paintings of musicians, fifties photographic paintings, birds, fish, traditional still life, figure painting, portraits and trees, covering every major contemporary figurative category and genre.

The Fifth Genre takes its name from the five genres of academic painting: history, portraiture, genre painting, landscape, and still Genre takes its name from the five genres of academic painting: history, portraiture, genre painting, landscape, and still genre painting, landscape, and still life.

In countries where institutional support of history painting was less dominant, the transition from existing traditions of genre painting to Realism presented no such schism.

Drawing from the legends of history, mythology, the Bible, imperial conquest, or folklore, the genre was considered to be one of the highest forms of painting before falling out of vogue in the 20th century in favor of the avant - garde developments we known and love.

In PAFA's installation, the Morse painting is on one side of the gallery with objects that help provide a broader context for the themes of artistic practice and identity, while the other half of the gallery is hung salon - style with paintings from PAFA's collection that highlight the academic genres taught and exhibited at PAFA in the first half of the nineteenth century.

His publications, in Studio Vista's Pocket How to Do It series, range from Composing Your Paintings (1971) to books on genres such as portraiture and still life (1966 and 1969 respectively).

In his paintings from the last decade he has turned his attention more specifically to reimagining art historical genres including portraiture and landscape painting, while drawing inspiration from such artists as Willem de Kooning, Andy Warhol, and many others.

But in a new, grand triptych, events take on a cinematic scope and scale, with a crowd of extras cast from Dutch genre painting and zombie flicks.

Co-organized by the DMA and the Virginia Museum of Fine Arts (VMFA), Bouquets: French Still - Life Painting from Chardin to Matisse will provide a thorough reassessment of the genre, which has previously been underexplored and appreciated for its decorative qualities alone.

Last year Smith organized the show «Obscuridades Bucólicas» at La Tallera in Cuernavaca, south of Mexico City, for which she conceived a series of tableaux vivants restaging different scenes in the paintings of Hieronymus Bosch and Pieter Brueghel the Elder's, that explored the morality of genre painting from a contemporary perspective.

Like enlarged versions of his paintings within paintings, the more abstract works in New Plants combine Wood's interest in painting from direct experience with his fascination with the many forms and genres found throughout art history, deepening and extending his investigation of the language of painting.

Morton reviews works from Gérôme's entire career - the early «Néo - Grec» paintings with references to classical antiquity, historical scenes, Orientalist genre paintings, and his late focus on sculpture - to make the case for his spectacular art.

Butler writes that both shows» [suggest] that a renewed interest in traditional genres — portrait, still life, landscape — is thriving within the painting community... That galleries are positioning a new kind of painting to replace what they (and many critics) see as a tired form of abstraction is a salutary development and very different from the days when the objectness of Minimalism, performance, installation, and electronic media challenged painting.»

However, around 1920 he moved away from avant - garde art and began producing genre paintings of American life in the South and Midwest.