Sentences with phrase «historical figurative painting»

Sometimes this manifests as a very sexy painting or photograph, but I am always taking my cues from the models and from the conventions of art historical figurative painting.

Not exact matches

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.

The Hall of Sculpture Balcony bears a hefty selection of Nicole Eisenman's paintings and plaster sculptures amongst the museum's figurative marble statues, though the artist's brand of classical and art historical absurdities seem tame in comparison to the strangeness of satirical and metaphorical works by Iranian artist Rokni Haerizadeh installed in an adjacent space.

Over 300 pages illustrated with Zeller's own exquisite drawings and paintings as well as works by nearly 100 historical and contemporary figurative art masters, the book includes some of the finest figurative art of the past and the present day.

Throughout this process a distinct distillation of choices developed for each artist that is wide - ranging but particular: both figurative and abstract, sculptures and some works on paper have been selected in addition to paintings, and historical as well as contemporary works, are juxtaposed.

Carroll's photographs call to mind multiple art historical influences — Greco - Roman figurative sculpture and its distinctive treatment of draping done in marble, the opulent cascades of textile pattern in Northern Renaissance painting, and the still life genre — in related series in Still / Life exhibited together for the first time.

Without shying away from the complicated socio - political histories relevant to the world, Wiley's figurative paintings and sculptures «quote historical sources and position young black men within the field of power.»

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.

Beginning in the 1980s, Greenberg's dogma was challenged by European critics, such as Achille Bonito Oliva, who used the term Postmodernism to describe painting that mixed historical styles in pastiche formulations that were mainly figurative.

The exhibition — a collaboration between Iziko South African National Gallery (ISANG), the country's premier public museum and host venue for this show, and The New Church Museum, a private collection with a contemporary focus — juxtaposes historical and contemporary works by 27 artists (20 men and seven women) to offer various critical insights about patriarchy and gendered tropes within figurative painting.

Her figurative paintings use traditional art - historical genres (the still life, the formal portrait, depictions of classical statuary) to explore people and objects that no longer have the fixed representational or symbolic status that allowed those genres to operate.

Belgian painter Luc Tuymans (born 1958), one of the key figures in the 1990s revival of figurative painting, is also one of contemporary art's great history painters, tackling historical traumas and their representations in a restrained — though resolutely painterly — style and pale, muted palette.

Claiming that «all art is about other art and about your parents,» José Lerma produces layered, exuberant mixed - media paintings, combining art - historical and biographical references into compositions at once abstract and figurative, humorous and dark, chaotic and controlled.

Historical Society, Richmond, VA 2000 «The Human Presence» Zeuxis - Courtyard Gallery, Washington, DC 1999 «The Human Presence» Zeuxis - Peninsula Fine Art Center, Norfolk, VA 1999 «Darkness & Light» Contemporary Landscape Painting, Art Museum of Western Virginia 1988, 1992, 1994, 1995, 1999 «City Art Show» Art Museum of Western Virginia, Roanoke, VA 1999 «MATES» Longwood College, Farmville, VA 1990, 1994, 1996, 1998, 2000, 2010 «Olin Gallery Biennial» Roanoke College, Salem, VA 1998 «Five Views — One Figure» Olin Gallery, Roanoke College, Salem, VA 1997 Ferrum College - Inaugural Show, E. Taylor Greer Gallery, Ferrum, VA 1996 «Figurative Art» Richmond Arts Council Richmond VA 1996 «Jack Beal & Hollins Art Faculty» Art Museum of Western Virginia, Roanoke, VA 1995 Cudahy's Gallery, Richmond, VA 1995, 1997, 1999, 2000 Virginia Artists — State Capitol, Richmond VA 1995 Contemporary Virginia Realists, 2nd St Gallery, Charlottesville VA 1992 Drawing: The Figure — Selected Artist from Virginia, Roanoke College, Salem, VA 1983, 1984, 1987, 1988, 1989, 1991 Virginia Watercolor Society 1990 Contemporary Art Group and Symposium — Roanoke College, Salem, VA 1989 Drawing in Virginia — 2nd Street Gallery, Charlottesville, VA

Loose and disjointed narratives involving the histories and materiality of painting are found in several videos: Ragnheiour Gestsdottir's video «As If We Existed,» portrays the fictitious melodrama of a figurative painter working in Venice; Tameka Norris's «Purple Painting» incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard's video «Hit Wave II,» a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with sprapainting are found in several videos: Ragnheiour Gestsdottir's video «As If We Existed,» portrays the fictitious melodrama of a figurative painter working in Venice; Tameka Norris's «Purple Painting» incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard's video «Hit Wave II,» a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with spraPainting» incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard's video «Hit Wave II,» a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with sprapainting with Hubbard in the background wearing a paint suit and creating gestural marks with spray paint.

``... trippy, drippy figurative paintings that are remixes of specific historical paintings, whose vibe is super fresh and funny.»

Altman - Siegel recalls that a figurative painting, «Jenny Chrisman,» sprung from a historical photo shot during the homesteading period.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

Rather than conforming to the era's dominant trends of pop art and conceptualism, he defied expectation by turning instead to figurative painting — unfashionable in London at that time — and began to develop a unique painterly practice informed by diverse art historical precedents.

The presentation at ABMB includes his earliest figurative work from the 1950s; classic drawings and paintings of the early 1960s, including two from his Ice Box series; as well as historical themes of the 1970s such as his mural - size, Custer's Last Stand # 1 (1973).

The works are frequently transcribed or appropriated from historical sources that have interested me within the canon of European figurative painting.

Each of these artists confronts issues of violence and power, shifting between personal, political and historical events while maintaining a dialogue with the tradition of figurative painting.

Individual rooms feature 24 hard - edge abstract paintings, drawings and reliefs by Ellsworth Kelly; 18 figurative and abstract paintings by Gerhard Richter; 14 silkscreens on canvas by Andy Warhol (most from the crucial 1960s); 11 Photorealist artist portraits in various media by Chuck Close; seven Agnes Martin grid and stripe paintings (installed in a heptagon - shaped room, recalling the sublime space at the Harwood Museum in Taos, N.M., where the artist once lived); five geometrically ordered Minimalist sculptures by Carl Andre; and five monumental mixed - media paintings of a decaying German mythos by Anselm Kiefer (plus one large model airplane in lead, an emphatically heavier - than - air machine conjuring the cruel historical weight of the failed Luftwaffe and its celebrated pilot artist, Joseph Beuys).

British artist Jessie Makinson paints exquisite multi-layered figurative compositions that drop art historical references as well as borrow patterns and motifs from other times.

John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement.

[citation needed] By thus manipulating the conventions and structures of figurative painting, he creates corollaries for literary, philosophical, and historical concepts in visual allegories about the nature and implications of perception, meaning, and interpretation in art.

A proudly declared fan of Egon Schiele and Francis Bacon, Tracey Emin returned to creating personal figurative paintings, usually of female nudes based on her own body or on historical photographs.

Taking and reinventing classicist and old masters paintings as principal elements and focal points for his work in this show, he uses angular forms inspired by and abstracted from his historical outdoor use of the alphabet to compliment the figurative work that he pays homage to and slices - up in equal measure.

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.

In these pieces, the artist tackled genres like the still life, the portrait, figurative representation, landscape, interiors, historical painting, political propaganda, religious iconography, and the appropriation of elements from popular culture and art history.

During the early 1960s Kitaj concentrated on combining figurative imagery with abstraction and began to incorporate collage into his paintings, drawing on photography and cinema and referring to historical events and political circumstances.

In creating paintings, Emin upholds the timeless legacy of figurative artworks, often modeled on her own body or on historical photographs, while developing a pictorial language and style that distinguishes her within this genre.

Closing this month are an exhibition pairing Mexican artist José Clemente Orozco with Jackson Pollock (Pollock - Krasner House), a solo show by Eric Fischl figurative beach paintings (Guild Hall) and historic photographs of the 1938 Hurricane (East Hampton Historical Society).

Bruce Adams is best known as a conceptually based figurative painter who references various (often historical) painting styles.

In his book Mondrian: On Humanity of Abstract Painting, the art historian Meyer Shapiro validates the importance of abstract art within the context of an art historical canon that has been dominated by figurative representation.

His works deal with contemporary, historical and literary themes, and are marked by figurative imagery executed with spontaneous and vigorous handling of the paint and often done on large - scale formats.

Inspired by early American figurative painting, Mequitta Ahuja's huge portraits critique and engage the tradition of painting and the greater art historical canon.

Villalongo's intricately layered figurative paintings meld cultural icons, mythology, and art historical references into wild, at times unsettling narratives.

By bringing together historical works the gallery has exhibited and placed in private and public collections alike since opening its doors in 1970, this show presents an important selection of significant examples from the 20th and 21st Century movements in modernism, ranging from Abstract Expressionism, Pop, and Bay Area Figurative and is represented by paintings, drawings and sculpture.

For a historical guide to figuration in England, see: English School of Figurative Painting: 18th / 19th Century.

Meleko Mokgosi (b. 1981, Botswana; lives and works in New York City) produces large - scale figurative paintings that rethink the tradition of historical European compositions.

Featuring eight painters — four from L.A. and four from New York — the exhibition runs the gamut of current artistic styles, from Heather Gwen Martin's 2015 abstraction of figurative forms, titledCousins, to the hyper - realism of Marc Dennis» art historical pastiche Ironman, Captain America and a Russian Mobster Walk Into a Bar, which humorously constructs a new scenario for these three characters and Edouard Manet's famous painting A Bar at the Folies - Bergère.

Throughout this process a distinct distillation of choices developed for each artist that is wide ranging but particular: both figurative and abstract works have been chosen, sculptures and some works on paper have been selected in addition to paintings, and historical as well as more contemporary works have been juxtaposed.

On view May 2 through August 12, 2018, these large - scale figurative paintings rethink the tradition of historical European compositions by depicting daily life in southern African nation - states and post-colonial ideals of democracy.

For «Sputterances,» Kantarovsky has assembled 22 artists, ranging from his peers, elder statespeople of figurative painting's seemingly perpetual renewal, and historical figures both vaunted and obscure, alongside three works by Daniëls.