Sentences with phrase «historical subjects of painting»

Not exact matches

Shown alongside sketches, drawings and studies, her paintings recast female subjects from art historical paintings, photographs and the media into new environments, imbuing them with a newfound sense of self - possession.

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.

According to the museum, her paintings «embrace many of the conventions of historical European portraiture, but expand on that tradition by engaging fictional subjects who often serve as protagonists of the artist's short stories as well.»

The curators of The Third Dimension saw that it was important to «present the work as an entity independent of painting and subject to its own historical dialectic.»

The series has a relationship with history painting, although Quaife's chosen medium of watercolour is unusual for such a potentially charged subject: it suggests the evanescence of the historical moment rather than its memorialising.

Earlier, at the Whitney Biennial, I showed paintings of the Opium Wars, the Boxer Rebellion and similar historical subjects.

As a painter, Liu challenges the documentary authority of historical Chinese photographs by subjecting them to the more reflective process of painting.

Wiley's signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.

Yiadom - Boakye's lush oil paintings embrace many of the conventions of historical European portraiture, but expand on that tradition by engaging fictional subjects who often serve as protagonists of the artist's short stories as well.

Yiadom - Boakye is one of the most renowned painters of her generation, her lush oil paintings embracing many of the conventions of historical European portraiture but expanding on that tradition by featuring purely fictional subjects.

Most recently, Munk has been producing a series of paintings that tackle the subject of art itself through a historical and diagrammatic lens.

Your subjects appear steeped in the past given their mode of dress — like a character from a Neo Rauch painting but without the overlying historical narrative.

Mixing art historical references with images taken from the internet, their subject matter knows no limits: from icons of popular culture such as Roy Orbison to much admired paintings of the past such as Georges Seurat's Bathers at Asnières (1884); from the lonesome cowboys in a Steven Spielberg film to the shocking photographs of Mexican photographer, Enrique Metinides.

Innerst would explore subject matter as subject matter in his work, producing oil paintings of landscapes, still lifes, cityscapes, historical scenes, interiors, et al., yet so deftly painted that his works were prized as much for their beauty as their conceptual rigor.

Starting with his famous painting Washington Crossing the Delaware, the artist gained immediate attention, even acclaim, painting historical subjects, often done tongue and cheek, of events in popular American history.

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.

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.

Hayes will be exhibiting approximately 35 paintings and drawings, which are focused on historical styles of sculptural representation in Indian mythological subjects.

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.

The subjects of the paintings include mythological, religious, historical, and genre scenes painted on canvas, wood, and copper.

A connoisseur of an astonishing array of subjects, Cornell's captivation with bygone imagery encompassed astronomical charts and geographical maps, Italian and Spanish Old Master paintings, historical ballet, early film, literature, poetry and ornithology.

PT: Your paintings are replete with subtle and explicit art historical and contemporary references and quotations, closely observed subject matter, complex spatial arrangements, visual and verbal double entendres, and a personal sense of color, not to mention humor, melancholy, pathos, and imagination.

His surfaces — gnarled and knotted, as if stirred from molten pigment — feel intimately tormented, but his scenes read like unearthly dreams... Radell focuses more directly on historical subject matter... Such scenes he conjures with heavily reworked surfaces, built up of layers of troweled and scraped paint, sometimes embedded with shreds of burlap.

THURSDAY, FEBRUARY 13 Opening: Loren Munk, «You Are Here» at Freight + Volume «The paintings in «You Are Here» are vibrant maps depicting a moment in history, and they tackle the subject of art itself through an historical and diagrammatic lens.

By replacing the typical European aristocrats depicted in those paintings with contemporary black subjects, Wiley is able to draw attention to the absence of African Americans from historical and cultural narratives and raise questions about race, gender, and the politics of representation.

Both shows interrogate gender through hobbled performing subjects — in the case of Locke, disembodied portraits of men, and for Kelley, cleverly twisted historical tableaus, often featuring the artist herself in theatrical paint and costumes.

The patterns reference art historical styles and canons, from Jugendstil to Islamic art, allowing the painted subject to transcend linear interpretation, and providing a dialogue between contemporary painting and an array of epochs and traditions.

The show, titled WS SC, combines the artist's two central motifs with the language of painting as subject matter in itself, invoking the art historical canon as a framework for his narratives.

Yet Halvorson's paintings have always been haunted by the historical resonance of their subjects, to which these new works add associations with the body, like the pinkish, peeling bark of Birch Skin (2017).

The terms began to separate in the 19th century, with «historical painting» becoming a sub-group of «history painting» restricted to subjects taken from history in its normal sense.

It includes early portraits of the men Wiley observed on Harlem's streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings by Titian, van Dyke, Manet, and others, in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies, and baseball caps.

For example, to think of a giant like Clement Greenberg, his early championing of Jackson Pollock may have launched his career, but his legacy was made not on the basis of these often cursory reviews, but rather on his synthesis and contextualization of Pollock's significance in later essays such as ««American - Type» Painting» and «After Abstract Expressionism» that rely on a certain degree of historical distance from their subjects, however slight.

Because of the potential for confusion modern academic writing tends to avoid the phrase «historical painting», talking instead of «historical subject matter» in history painting, but where the phrase is still used in contemporary scholarship it will normally mean the painting of subjects from history, very often in the 19th century.

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 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 perspective.

Lucy McKenzie approaches subjects of social and historical engagement, drawing inspiration from 20th - century avant - garde painting, fashion history, decorative arts, music, literature and popular culture.

Turner set out to change this outlook by elevating the status of landscape painting by demonstrating landscape's potential to address historical, religious and literary subjects.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

The main topics and subjects of his paintings are the 20th - century historical figures who caused a lot of suffering, such as German officer and physician Josef Mengele, or scientists with breakthrough discoveries, such as Charles Darwin.

Depicting themes and settings as varied as bar scenes, motherhood and the plight of the artist, New York — based artist Nicole Eisenman (born 1965) fuses contemporary subject matter with art - historical influences ranging from Renaissance chiaroscuro to twentieth - century social realist painting.

Presented in heroic dimensions, this subject challenged the very conventions of landscape painting, which held that biblical, historical, or mythological themes set within idealized landscapes were alone capable of conveying significant moral or intellectual meaning and thus suited to grandeur of scale.

Themes included: Spanish - Lola de Valence (1862, Musee d'Orsay), Mlle Victorine Meurent in the Costume of an Espada (1862, Metropolitan Museum of Art), Spanish Dancers (1863, Phillips Collection, Washington DC), The Dead Matador (1863, Metropolitan Museum of Art, NY); marine scenes - Battle of the Ships Kearsage and Alabama (1864, Philadelphia Museum of Art); outdoor scenes - Racing at Longchamp (1864, Chicago, Art Institute); mythological - Surprised Nymph (1861, Museo Nacional de Bellas Artes, Buenos Aires); contemporary historical - The Execution of the Emperor Maximilian (1867, Museum of Art Mannheim, and National Gallery London); religious subjects - The Dead Christ (1864, Metropolitan Museum of Art, NY); numerous types of genre painting - Women at the Races (1864, Cincinnati Art Museum), Boulogne Docks by Moonlight (1869, Musee d'Orsay); and even some examples of still life painting - Peonies in a Vase (c. 1864, Musee d'Orsay).

What «The Forever Now» fails to offer is painting that, in its curator's words, is «inspired by, refers to, or avails itself of styles, subjects, motifs, materials, strategies, and ideas from an array of periods on the art - historical timeline.»

At first sight Adrian Ghenie's (° 1977, Baia - Mare; lives and works in Cluj and Berlin) paintings deal with subjects that carry a historical set of references, but collective memory is constantly challenged by enigmatic prophetic actions, occulted and personal folds in the temporal linearity.

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.

With these paintings, Yiadom - Boakye further establishes her distinctive approach, which embraces many of the conventions of historical European portraiture but expands on that tradition by featuring purely fictional subjects.

This exhibition, organized in close collaboration with the artist himself, explores his five - decade career, from his earliest works — the perplexing «dithyrambs» and provocative manipulations of German motifs, such as helmets and fields of wheat — to the more recent paintings that are redolent with mythological subject matter and art historical allusions.

As such, the paintings construct a new context in which historical subjects are presented as if part of the contemporary moment, just as current events are inevitably filtered through their appearance in the mass media, with its often hidden structures and regulations.

MIGRANT MOTHER AND HER CHILDREN Hung Liu is primarily known as a painter of Chinese subjects, typically from the 19th and 20th centuries, whose paintings are based on historical Chinese photograp...