Sentences with phrase «generations of painters in»

Drawing in Tintoretto's Venice will be the first exhibition since 1956 to explore the drawing practice of this major figure of the Venetian Renaissance and will offer an entirely new perspective on Tintoretto's evolution as a draftsman, his individuality as an artist, and his influence on a generation of painters in northern Italy.

Before graffiti, and after graffiti Smash137 is a painter and is of the emerging generation of painters in our era who embody the landscape of today's art.

Not exact matches

2015.02.11 Emerging visual artists wanted to participate in RBC Canadian Painting Competition Next generation of Canadian painters are invited to submit work for 17th annual competition...

Ubud is about an hour's drive from the airport and once you reach De Munut Balinese Resort you will be in an oasis of the fascinating Balinese culture at its strongest and the incredible landscapes that surround you and has inspired the painters» and artists communities for generations.

Ubud had a fascinating history devoted to the following of the Balinese Hindu religion, accommodating the royal family and compelling creativity in the form of painters, carvers, performers and dancers who have been inspired by this area for generations.

Ubud had a fascinating history of a devoted following of the Balinese Hindu religion, accommodating the royal family, compelling creativity in the form of painters, carvers, performers and dancers who have been inspired by this area for generations.

She wrote that Mueller and a number of other painters were the «generation that essentially reinvented American abstract painting in the 1970s and»80s.»

«Generations of black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstraction.

In a new video, produced by John Thornton, painter / curator Scott Noel discusses a lineage of observational painting that spans four generations from Edwin Dickinson to recent graduates of the Pennsylvania Academy of Fine Arts.

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

Sharon Butler interviews painter Louise Fishman on the occasion of three exhibitions: Louise Fishman at Cheim & Read, New York (through October 27), Louise Fishman, Five Decades at Tilton Gallery, New York (through October 13), and Generations: Louise Fishman, Gertrude Fisher - Fishman, and Razel Kapustin at Woodmere Art Museum in Philadelphia (October 13, 2012 — Janury 6, 2013).

However, like other female painters of her generation, to this day she has not received the same level of recognition in international exhibitions as her only slightly older male colleagues Jackson Pollock, Franz Kline, or Willem de Kooning.

In his catalogue essay for the Hodler retrospective that was held at the Guggenheim Museum, New York, in 1973, Peter Selz describes the artist's hardscrabble roots, far removed from the comfortably bourgeois childhood homes of Édouard Manet (1832 — 1883) and Paul Cézanne (1839 — 1906), the revolutionary French painters of the previous generatioIn his catalogue essay for the Hodler retrospective that was held at the Guggenheim Museum, New York, in 1973, Peter Selz describes the artist's hardscrabble roots, far removed from the comfortably bourgeois childhood homes of Édouard Manet (1832 — 1883) and Paul Cézanne (1839 — 1906), the revolutionary French painters of the previous generatioin 1973, Peter Selz describes the artist's hardscrabble roots, far removed from the comfortably bourgeois childhood homes of Édouard Manet (1832 — 1883) and Paul Cézanne (1839 — 1906), the revolutionary French painters of the previous generation:

AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.

Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation, died on Tuesday at her home in Darien, Conn..

Stefan Szczesny September 13 — October 9, 2012 The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German - speaking world who came to be known as «Neue Wilde.»

Sidibe influenced his contemporaries and inspired a new generation of artists including British painter Chris Ofili, who is based in Trinidad.

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

It's latest record million dollar sale price acknowledges what many have recognized for decades — Marshall is one of the great painters of his generation and his approach, «Blackness in the Extreme» (as he titled his Nov. 12 lecture at the Crystal Bridges Museum), resonates narratively and aesthetically.

Although not always acknowledged, his influence is visible in the works of a current generation of painters that includes, Joe Bradley, Dan Colen, Sergej Jensen and Oscar Murillo to name but a few.

It will continue with work by current mid-career painters as well as recent graduates who will play a central role in the next generation of American painting.

Taking issue with Harold Rosenberg (another important champion of Abstract Expressionism), who wrote of the virtues of action painting in his article «American Action Painters» published in the December 1952 issue of ARTnews, [3] Greenberg observed another tendency toward all - over color or Color Field in the works of several of the so - called «first generation» Abstract Expressionists.

From the «precursors» who developed Congo's first works on paper when it was still a Belgian colony to the 1970s «popular painters» who worked as sign painters and created comics, and a new generation of artists that emerged in the 2000s, this unique show offers an historic overview of Congo's artistic landscape.

Esteban Vicente's death in 2001 at the age of 97 marked the passing of one of the last surviving members of the first generation of New York School painters.

His work paved the way for a new generation of figurative painters, and his absence in the art world will surely be felt.»

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

Nevertheless she has not, until today, received as much attention in the international exhibition world as her only slightly older, Page 3 6 male, fellow painters Jackson Pollock, Franz Kline, and Willem de Kooning, a fate she shared with other women painters of her generation.

I'd place Pollock along with Hofmann and Morris Louis in this country among the very greatest painters of this generation.

Lastly, the Woodmere Art Museum in Philadelphia has organized «Generations: Louise Fishman, Gertrude Fisher - Fishman, and Razel Kapustin,» an exhibition that positions Fishman in the context of her mother and aunt, both accomplished painters in their own rights.

These canvases disclose affinities — Miró does not in the least attempt to deny this — with the researches of a new generation of painters.

Cofounder of the collective Galerie LIGA in Berlin, he was one of the leading protagonists of the New Leipzig School before gaining a reputation as one of the most important painters of his generation.

Gilliam is considered a third - generation Color Field artist (a «generation» in this kind of art history lasts perhaps four or five years), and he came to it obliquely, drawn inby his friend the late painter Tom Downing, who threw down a gauntlet.

• Ed Paschke (1939 — 2004), neon - lit Chicago Pop artist Jeff Koons (b. 1955), world - famous sculptor of elevated banality and gleaming toys Prema Murthy (b. 1969), Net - conscious media artist Sarah Morris (b. 1967), brainy geometric abstractionist and appropriationist Jennifer Rubell (b. 1970), food artist extraordinaire Tony Matelli (b. 1971), hyperrealistic sculptor of flora and aggressive fauna • Edward Kienholz (1927 — 1994), Ferus gallery co-founder, iconic Los Angeles artist Jack Goldstein (1945 — 2003), Pictures Generation star and looper of films Ashley Bickerton (b. 1959), Neo-Geo artist of lurid island pop Mark Dion (b. 1961), naturalist conceptualist and arch-cataloguer • Vito Acconci (b. 1940), seminal father of transgressive»70s performance art Kathryn Bigelow (b. 1951), artist - turned - «Hurt Locker» director Ken Feingold (b. 1952), conceptualist sculptor of heads Robert Longo (b. 1953), wizard of charcoal and graphite, disturber of «Men in Cities» Mark Innerst (b. 1957), engineering - slanted landscape painter Brock Enright (b. 1976), postmodern pop - culture investigator David Salle (b. 1952), brainy Neo-Expressionist descendent of Picabia Annette Lemieux, lecturer of visual and environmental studies at Harvard Michele Zalopany, pastel Postmodernist • Dan Graham (b. 1942), sculptor of reflective / transparent psychological architecture R.H. Quaytman (b. 1961), literary - minded process painter of high intellectual wattage Cameron Rowland (b. 1988), conceptual found - object sculptor • Julian Schnabel (b. 1951), Neo-Expressionist godhead and Hollywood filmmaker Bill Saylor, sketchy maximalist and Harmony Korine collaborator Greg Bogin (b. 1965), post-Net minimalist

Guston achieved fame in the 1950s as a part of the first generation of abstract expressionists, although the painter himself preferred the term New York School.

Writing about his work in a 2008 review in The Evening Standard, critic Ben Lewis said, «Nigel Cooke has firmly established himself as the leading British painter of his (post-Doig) generation.»

Considered one of the most important painters of the twentieth century, Still was among the first generation of Abstract Expressionist artists who developed a new, powerful approach to painting in the years following World War II.

The painter whose crisp, bright skies serve as a missing link between the generations of Thomas Cole, his teacher, and of Winslow Homer, he kept just one large, finished painting, oddly dark and even in tone.

Laura Owens is a painter and installation artist very firmly practicing in the tradition of the post-conceptual art generation.

I thought it would be interesting to put them in a context with several other generations of contemporary figurative painters, who are continuing to do vital work and are changing with the times.

Antonio Saura was a Spanish artist and writer, one of the major post-war painters in the fifties whose work has marked several generations of artists.

As a founder of Casa 7 in 1983, Paulo Monteiro belongs to a generation of Brazilian painters that emerged in the eighties and who celebrated a return to the canvas.

But Borremans» style, its inherent drama, the way his subjects clog up the frame, the way they somehow seem to exist in a space between the surface of the canvas and the trompe l'oeil illusion, owes more to painters of prior generations, like Manet, Velázquez, or Caravaggio.

A recent spell in Bali has affected John Hoyland, prompting violent clashes and disturbances, a use of acrylics that mocks the controlled slippages and seepages of younger generation abstract painters.

And they had a different point of view than the other galleries that existed at the time, and they were particularly interested in the Pictures Generation [a loose affiliation of conceptual photographers and painters who emerged in the mid-70s and appropriated media and advertising in their work], which by that time had become almost underground.

Frowned upon by generations of art historians as the last expression of irrationality (as opposed to perfect perspective) the primitive painters played a pivotal role in bridging Medieval styles with the resurgence of classicism characteristic of Renaissance artists and architects.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

In contrast to many painters of his generation, this allusion to pop culture is secondary at most, which adds to the work's manifold possibilities.

She moved to New York in 1967 and quickly gained recognition among a generation of painters, though her use of cartoony imagery and shaped canvases was unlike any of her contemporaries.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Hofmann's school in Provincetown filled the vacuum left by Charles Hawthorne's death in 1930 and became as important to modern painters as Hawthorne's had been in its capacity to mold a generation of American artists.