Sentences with phrase «half social realist»

King has occasionally compared himself to Theodore Dreiser and Frank Norris, two turn - of - the - century social realists who specialized in urban miseries and workmanlike prose, and he loves to quote Norris» riposte to critics: «What should I care if they single me out for sneers and laughter?

Part social realist, part fabulist, Sebastián Lelio makes films that often ask audiences to rethink their biases and do better by the victimized and ostracized.

His work also refuses to be pigeonholed; for example, defying his reputation as a period film director, 1957's The Eleventh Hour is an ensemble - cast, social realist melodrama about a rescue at a caved - in mine that equals anything made by Hollywood during the same era.

This is an impressive first film, and it will be interesting to see if Legrand's path takes him towards more cut - and - dried horror, or the chin - strokey, cynical social realist art movie at which directors like Michael Haneke excel.

The aesthetic is very much in line with the directors» social realist tendencies, but applied to a neo-noir framework.

His debut, 2010's Down Terrace, was a wonderful play on the gangster genre formula, interweaving the betrayal and murder typical of gangland narratives with a social realist aesthetic in the vein of Mike Leigh to hilarious effect.

It's like Spike Milligan rewrote Broadchurch and spliced it into a Ken Loach-esque social realist drama.

The style is simple but considered, and while Reichardt draws on social realist cinemas from both Italy and the UK, the film carries a stonewashed aesthetic that is distinctly American.

Director Sen, previously known for social realist films, and writer, cinematographer, editor and composer here too, shows masterful command of genre.

At once hugely influential — there is no Paul Greengrass without Clarke — and still relatively obscure, Clarke is singular among the British social realists, owing to his adaptability to a variety of sub-genres (within this sampling you will find women's pictures, war movies, prison dramas, documentaries, and even an hour - long about a dystopian roller rink) and a blazing empathy for the downtrodden that seem to go hand - on - hand.

These moments are rooted deeply within social realist cinema, and the everyday interactions of these men and the women in their lives reveal far more than any of the other, more grandiose statements the film attempts to make.

Loach, the British social realist, has never been a big favorite of mine.

Ken Loach will insist on behaving as if there really is something urgently wrong, and that we shouldn't or needn't get used to food banks as a fact of life; he portrays it all as something which we might actually do something about in the real world, as opposed to invoking injustice as an aesthetic gesture, or a flavour - ingredient of modern social realist fiction.

An unfeasibly gripping social realist parable that provides a gravitational showcase for one of Marion Cotillard «s finest performances (and yes, we know that's saying something), the Dardenne brothers» «Two Days, One Night» sees the two - time Palme d'Or winners put in a serious bid for a third (though probably, Cannes rules being what they are, a Best Actress trophy for Cotillard is more likely).

House of Earth, inspired by Guthrie's own experiences, is a social realist novel about West Texas farmers Tike and Ella May Hamlin, whose simple dream of a house built of earth is thwarted by big business and greedy landlords.

In fact Faber said of Dickens: «Every critic creates their own Dickens — fearless reformer, craven reactionary, anarchic force of nature, cosy sentimentalist, fierce intellect, self - educated bore, social realist, grand tragedian, slapstick comedian, etc..

All this gives weight to Marianne Doezema's judgement that it was Bellows» ability to «combine a «revolutionary» style with an ingratiating message» that enabled him «to chart a delicate course between resistance and accommodation», and rather undermines the attempts to claim him as a social realist.»

Sean Mahan is a social realist figurative painter who works with graphite and acrylic washes on wood to depict a sense of wonder about the innate warmth of the human character and its conflict with structures of power and control.

Works by David Siqueiros, a political, radical - minded Mexican social realist painter, and an adversary of Rivera, who was best known for his large fresco murals, are also included in the collection.

Socially aware and socially conscious novels, films, music, mural painting, social realist painting, addressed the ills of American society.

In describing «Vignette,» Christie's says Marshall «inflects a social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.

[11] Yet neither did he want to align himself with the anti-Modernist camp of Regionalists like Thomas Hart Benton and politically - minded social realists.

His father was the second - generation Mexican muralist Mario Orozco Rivera, who worked for the great social realist painter David Alfaro Siqueiros.

Associating his influences with Social Realists «he fell in with» when he arrived in New York, Sims describes them as «a cohort of individuals who bridged the gap between abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»

This early contè crayon drawing is a strong addition to WCMA's collection of American art and the first major social realist work by an African - American artist before 1950.

An American social realist painter, Moses Soyer expressed loyalty to the shapes of nature and aversion to the abstractions of art to the very end of his life.

And by 1964, with Race Riot, «Andy Warhol establishes himself as the most relentless of social realist and social protest artists the country has produced.»

She came under the sway of the social realist photography of Walker Evans and Ben Shahn and, as stated, joined them as a member of the WPA programs of the 1930s.

The exhibition begins with the artist's earliest drawings, made in Los Angeles while studying at Otis College of Art and Design under the legendary social realist painter Charles White.

The show argues that Lewis used abstraction throughout his career, after initially working along social realist lines, commingling it with the figure to comment on political issues involving race and civil rights, and introducing history and narrative into a style that eschewed such content in favor of medium specificity.

It also encourages comparisons between the social realist and the abstract styles, exposing viewers» investments and perhaps false faith in the former as transparent and the latter as transcendent.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

East German artists, on the other hand, were forced to adopt a social realist style based on Soviet models.

Between 1909 and 1931 Lacasse practiced social realist figuration alongside proto - cubism and Abstraction and this may have counted for him loosing his status as a pioneer of Abstraction.

Painted between 1943 and 1978 in Neel's inimitable style — half social realist, half wonky Expressionist — the paintings and drawings of her uptown friends, neighbors, colleagues and fellow travelers form a remarkable montage of the artist's life in a vibrant, multicultural 20th - century New York.

Departing from the WPA / social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas's energetic drawings showed respect and affection.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

In Vignette, he inflects a social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.

Trained as a social realist painter and muralist, she came to the United States in 1984 to attend the University of California, San Diego, where she received her MFA.

Social Realists working in printmaking and photography, including Mabel Dwight, Hugo Gellert, Margaret Bourke - White, Lisette Model, Walker Evans, and Weegee, depict the era as tumultuous and divided: plagued by poverty, labor abuses, racist violence, and war.

One train of thought defines the British painter Edward Burra as a satirist and connects him to the production of the German artist Otto Dix, while the other views him as a social realist due to his sharp and distorting eye of the human nature, and landscape.

While some artists such as Gorky and Guston can be said to have been responding to social upheaval and ethnic violence, the historical engagement of the Social Realists has been replaced by introspection and metaphor.

Complex and seductive, their references include color field, social realist, and surrealist painting; 1960s and»70s counter-culture graphics; 1970s feminist art; and bodily forms and fluids.

Alston's work was influenced by the social realist art of the 1930s, the politically - charged work of the Mexican Muralists, and by jazz and nightclub culture.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Guerrero Z. Habulan is a figurative artist born in Philippines, a young social realist with a sharp sense of humor.

Designers like Donald Deskey, Gilbert Rohde and Russel Wright experimented with new materials, including aluminum, bakelite, cork and linoleum while painters such as Burgoyne Diller, Charles Biederman and Werner Drewes redefined an American aesthetic that challenged the predominant representational imagery of the social realists like Ben Shahn, Thomas Hart Benton and Raphael Soyer.

An instructor at the school, the social realist artist became a mentor and friend.

Philip Guston was a painter and printmaker who began as a social realist painter, associated with the mural movement involving artists such as Diego Rivera and working for the Works Progress Administration's Federal Arts Project in New York City during the 1930s.

In a manner both visually gripping and psychologically strange, Pittman's hallucinatory works reference myriad aesthetic styles, from Victorian silhouettes to social realist murals to Mexican «retablos.»