Sentences with phrase «historical figures in his paintings»

Often referencing modern icons and historical figures in his paintings, Kippenberger's Hand Painted Pictures are at once comical and tragic, serious and subverted, and some of the most important paintings in his oeuvre.

Not exact matches

Apparently, though, the figures in the forum don't believe that great novels and paintings and historical events are sufficient to justify the humanities.

Not only are paintings, religious iconography and books being published online, but also letters by from important historical figures, drawings and notes by artists and scientists such as Michelangelo and Galileo, as well as treaties from all eras in history.

Now on Earth, Atlas is walking through notable periods of time, meeting various historical and mythological figures, all of whom have been depicted (in real life) in paintings and other works of art, such as statues or books — from the likes of Henry VIII, to Medusa, to William Wallace and a demon that blew up Mount Vesuvius.

In addition to these two main traditions there is a Jungian faction, also venerable, and the recent «hidden figuration'theories of Pepe Karmel, presented in the catalogue of the last retrospective, but these latter have the drawback that they treat Pollock's work as if it were analysable in the same way as any historical figure paintinIn addition to these two main traditions there is a Jungian faction, also venerable, and the recent «hidden figuration'theories of Pepe Karmel, presented in the catalogue of the last retrospective, but these latter have the drawback that they treat Pollock's work as if it were analysable in the same way as any historical figure paintinin the catalogue of the last retrospective, but these latter have the drawback that they treat Pollock's work as if it were analysable in the same way as any historical figure paintinin the same way as any historical figure painting.

Since the 1990s, Peyton began exhibiting her work — paintings of artists, musicians, historical figures, and friends, which she renders from photographs and from life — and more recently, also in still lifes, landscapes and scenes from the opera.

«Small as her paintings are, they're emblematic of a historical moment where different places in the world come together in a single figure,» he says.

The small, fragile ceramic vessels that reference military and funerary formations, «the family units of historical figures in Vietnam,» stand in sharp contrast to the energy and movement of the large - scale paintings.

The large - scale paintings in Sequences from a Volatile Now dissolve, however, explicit reference to historical figures.

This large - scale bronze playfully casts the classical female figure, reimagined in Giorgio de Chirico's surreal paintings, as if she is made of crudely carved polystyrene, further debunking the fetishized art historical form.

Throughout his career, Marshall has consistently sought to correct the under - representation of people of colour in Western culture by creating his own depictions of black figures (both historical and fictional) using the art - historical genres of history painting, portraiture and landscape.

Elizabeth Peyton: Live Forever Vibrant paintings of Kurt Cobain, Sid Vicious and Jarvis»n' Liam having a fag vie for space with stylised portraits of Peyton's friends and historical figures (Napoleon and the Queen) in this first major survey of the acclaimed US artist's work.

While Whitten will be remembered as a giant of American painting and a singular figure in the creative history of black diaspora, he kept his eye fixed on the deeper currents that connect people across broad cultural divides and vast historical distances.

Portraiture is also the focus of Californian artist Henry Taylor, whose crude though ravenously observed paintings are populated by African - American subjects, from historical figures like Eldridge Cleaver to people living in his Los Angeles neighborhood.

However, in the wake of the Watts riots, and the general breakdown of urban life in the United States in the late 1960s and early 1970s, Marshall focused on «an examination of the historical absence, or «invisibility» of the black figure in the tradition of painting.»

A web of interwoven art historical references and ideologies connects the sculptures, paintings, and images on view in an installation that aspires to incite multi-disciplinary discussions with varied readings relating to themes such as: the displacement of the figure and the subject, the phenomenology of the viewer, and the deconstruction of systems.

Through drawings and paintings of the figure, still lifes, and landscapes, the 20 artists in the exhibition draw inspiration from the art historical canon — Renaissance painting, the Hudson River School, American Modernism — and advance realism as a critical mode of painting in the 21st century.

According to Katharina Manchada, the curator of the museum exhibition, it was important to show these recent paintings to contextualize Kusama as a contemporary artist «to remind people that she remains extremely vital as an artist working today, in addition to being a historical figure.»

The artists exhibiting further the conversation of painting in a post-historical era of art where figures and representation is not bound by historical narratives or for that matter the conceptual ideology of contemporary art.

This piece is from a popular and highly coveted series of doctored images that the artist made by taking interior settings — from banal living rooms to entire movie theaters — and wrapping them in 3 - D «skins» made from paintings by art - historical figures like Mondrian and, in this case, Georgia O'Keeffe.

What does matter is that if no one is out there working to produce paintings with a racially different set of figures in them that are as interesting, as challenging, and as good as those historical masterworks, non-white people will always be in trouble.

Exhibiting at Art Basel Hong Kong for the first time, PPOW is presenting a two - person booth that features historical paintings and drawings by the late Martin Wong, a self - taught Chinese - American painter and fabled figure of the East Village art scene that died from an AIDS - related illness in 1999, and glass - and - bronze sculptures that evoke elements of traditional Chinese landscape paintings from the Vermont - based Australian artist Timothy Horn, who's a recent addition to the gallery's stable.

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.

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

Portraitist Marlene Dumas presents figures in a gritty, unsentimental manner, evoking the essence of the human condition, while Kerry James Marshall paints the life of African - Americans in the twentieth - century, employing recent historical review to document the social challenges.

As James Marshall recently asserted, «One of the reasons I paint black people is because I am a black person... there are fewer representations of black figures in the historical record.»

A handful of artists in the exhibition reference particular art historical figures or classic painting genres.

«Joan Brown is a beloved figure in the Bay Area, and it is time to consider her painting in its much - deserved national and historical context,» said Susan Krane, Oshman Executive Director of SJMA.

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.

Her work — which includes portraits of enslaved people painted on jugs, plates, newspapers, and other domestic objects, as well as full - size cutouts of figures in colorful historical costumes — not only examines the histories of colonialism and the slave trade, but also the way their effects continue to play out in society today.

Major historical works by artists including Howardena Pindell, Sam Gilliam and Melvin Edwards demonstrate the Rose's commitment to diversifying its holdings in 20th century painting and sculpture by acquiring important works by figures who until recently have been excluded from canonical accounts of art history due to race and gender - based discrimination.

Born in Birmingham, Ala., but raised in L.A. during the civil rights and black power movements, Marshall paints historical events, the city (including bits of Los Angeles), domestic scenes and portraits in ways that counter the invisibility of the black figure in Western art.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

Mary's annunciation, or the flagellation, baptism, and resurrection of Christ; these are some of the narrated events that seamlessly merge with an art - historical framework of 15th century painting's perspectival studies of figures in space.

In keeping with his signature approach, Marshall has painted his figures in strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art - historical narratives written from a white, Western perspectivIn keeping with his signature approach, Marshall has painted his figures in strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art - historical narratives written from a white, Western perspectivin strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art - historical narratives written from a white, Western perspectivin order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art - historical narratives written from a white, Western perspectivin art - historical narratives written from a white, Western perspective.

which translates roughly as Everything should (will) disappear, will see Nadège Dauvergne present her works which portray figures from historical paintings and places them into new environments, creating associations from ideas and forcing us to ask questions about our relationships with money and the sacred in our modern society.

I first encountered Esber's work in the late»90s, hypnotized by his trippy, distended Plasticine figures and historical portraits — equal parts site - specific installation, painting, and relief sculpture.

In Room 3 paintings by Chris Ofili, Sanya Kantarovsky and Apostolos Georgiou feature embracing figures, and on the back wall objects dominate with Philip Guston, Michael Simpson and Domenico Gnoli, punctuated with a tiny Giorgio Morandi, to make the art historical point about the metaphysical life of things.

One can discern certain items in this painting that are loaded with art historical import such as a palette, a pipe, and a seated figure with a landscape view behind, yet the purpose of the puzzle remains purposely unresolved.

In these paintings, grounded in a myriad of historical references, the figure emerges at times forcefully and at others tentatively from within abstract fieldIn these paintings, grounded in a myriad of historical references, the figure emerges at times forcefully and at others tentatively from within abstract fieldin a myriad of historical references, the figure emerges at times forcefully and at others tentatively from within abstract fields.

José Lerma's work finds inspiration from his own autobiography and an interest in long - lost historical figures, a dialogue that he chooses to have within the context of painting and painting's relationship to history.

In 1990 I made an interactive video laserdisc installation that was inspired by my studies of the gaze in historical figure paintinIn 1990 I made an interactive video laserdisc installation that was inspired by my studies of the gaze in historical figure paintinin historical figure painting.

Knowing the historical context of the nude in high art and refreshing the complex artist - model relationship, her work is distinct from the «raw» figure paintings of Jenny Saville and Lucian Freud, and goes beyond John Berger's juxtaposition of female nudes from old master paintings with porno shots in Ways of Seeing (1972).

His books include Scene jezika [Scenes of language](Belgrade, 1989), Pas Tout (Buffalo, 1994), Prolegomena za analitičku estetiku [Prolegomena for analytical aesthetics](Novi Sad, 1995), Postmoderna [Postmodernism](Belgrade, 1995), Asimetrični drugi [The asymmetrical other](Novi Sad, 1996), Estetika apstraktnog slikarstva [Aesthetics of abstract painting](Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950 [Glossary of modern and post-modern visual arts and theory after 1950](Belgrade and Novi Sad, 1999), Paragrami tela / figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008)figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008)figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008)Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008)figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etc..

What are the implications for an immersive pictorial space in painting when considered outside the historical figure / ground or subject / object relationship?

[28] Lisa Yuskavage's nude figures painted in a nearly academic manner constitute a «parody of art historical nudity and the male obsession with the female form as object».

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.