Sentences with phrase «historical works such»

This show features historical works such as a fragment of a Roman sarcophagus (dated to the second half of the second century), «Paysage de mer» (1869) by Gustav Courbet, and two seashore nudes by Pablo Picasso; «Baigneur et Baigneuses», (1920 - 21) and «Les Trois Baigneuses» (1932).

Not exact matches

They look at the origins, work conditions, and precarious lives of farm workers in terms of larger historical forces such as colonialism, land rights, and racism.

These are the most updated historical estimates and data available regarding the Blue Spec and Gold Spec deposits (except for the data contained in this news release and Novo's news release of January 21, 2016) and, as such, no work needs to be done at this point in time to upgrade or verify the historical estimates.

By the end of his studies» he wrote his doctoral thesis on the quest for the historical Jesus» Braaten had worked through the theologies of such mid-century luminaries as Tillich, Rudolf Bultmann, and Karl Barth but become the disciple of none.

The biblical hermeneutic of Christian Zionism distorts biblical texts by reading them out of their canonical and historical context, making them seem more like such fictional works as the «Left Behind» series than the whole Word of God.

It was a literary convention of the period to introduce an historical work in some such way, but it is of course possible to conform to a literary convention and yet to speak the truth.

Perhaps I ought to be more surprised at his omission of historical fiction, including that of Madeleine Polland, written from a deeply Christian perspective; she wrote such works as Beorn the Proud, now available in reprint, and my personal favorite, The Queen's Blessing, set in the time of Saint Margaret of Scotland.

Critical scholarship — not only historical critical scholarship, but also newer approaches to the Bible using critical theory — has pressed our understanding of the texts and traditions of ancient Christianity to the point where organized Christianity, if it were to be guided by such work, would have to begin to rethink some of its basic theological commitments.

To be mentioned also are the work of theologians such as Karl Rahuer in his Theological Investigations, and specialized historical studies, often by Catholics like Hubert Jedin, Otto Herman Pesch and Vinzeng Pfnür, on the Reformation period and the Council of Trent.

The work of providing such literary and historical materials began to be accomplished shortly before the war but then suffered serious interruption; however, a new translation of the Qur» an was recently published in Taiwan.

However, if saving faith rests on what we observe about God's work in us to such an extent that we can be indifferent to historical claims about Jesus, do we not risk looking to ourselves rather than to Christ for our assurance?

But I wish also to remark that what such critics often imply is a very unhistorical notion of how any faith, and a fortiori Christian faith, does work as a matter of historical development.

But until such a method could be worked out and applied, and its results brought In, the only scientific historical reconstruction which was actually available remained that of the nineteenth century.

It is clear that neither of the most striking conclusions of Schweitzer's work was such as to explain why the quest of the historical Jesus came largely to an end a generation or more ago.

On the other hand, if «historical» implies that we possess material that gives us an entirely accurate and completely reliable account of the life and work of Jesus, such as we might have about Julius Caesar or Napoleon, it is an inexact and misleading phrase.

On the other hand, all historical research worth the name leads simply in the pursuit of its precision work to the question of decision, (I deliberately avoid such formulations as «the question of truth» or «the question of valuation».)

But essential ecumenicity inheres, if in quietness and subtlety, in the Decalogue; and it receives its first emphatic description of meaning in the Yahwist's work in the tenth century B.C., a work which proclaims the central thesis of God's impingement on Israel, to be sure, but at the same time — such is the historical form of Israel and the meaning of her life — on the world, the whole household of God.

True, it tends to ask rather different questions, such as those concerning the understanding of existence implicit in Jesus» teaching, but its work is still based on exactly the same kind of historical - critical methodology as that used by Bultmann or Jeremias.

Such an approach demands the sketching in of a broad historical setting for the developments which are the immediate concern of the work.

Poland, a historical British ally, said Cameron would struggle to win support during the renegotiations for his more modest proposals to restrict access to in - work benefits such as tax credits and housing benefit.

With touches of coral, peach, and mint on the historical grounds of a working vineyard, photographer Melissa Milis captured their day beautifully and with such a deep romantic mood.

Those film historians who've summed up Kemp's post-Z Cars TV appearances as «sporadic» evidently haven't seen his small - screen work in such miniseries as Winds of War and its sequel War and Remembrance (he played German general Armin Von Roon in both); he also played Cornwall in Sir Laurence Olivier's 1983 television adaptation of King Lear, and was featured in the internationally produced historical multiparters George Washington (1985) and Peter the Great (1986).

A calling requiring specialized knowledge and often long and intensive preparation including instruction in skills and methods as well as in the scientific, historical, or scholarly principles underlying such skills and methods, maintaining by force of organization or concerted opinion high standards of achievement and conduct, and committing its members to continued study and to a kind of work which has for its prime purpose the rendering of a public service.

This project adds such a comparative framing to the field of education research, treating the historical and present day movements of learners as spaces for analysis and focused education design work toward more equitable communities for youth.

Such a record of student work becomes a historical family keepsake or scrapbook, verifying all of the committed effort, hard work, and fun that both parents and students invested together into the learning process.

For instance, if you are using a historical or legal document that is publicly known, such as the U.S. Constitution or the Bible, you don't have to include it in the Works Cited list.

To elaborate further why this year will be such a great opportunity for boxed sets, David Gaughran has recently teamed up with several authors who write in the similar genre as his, historical fiction, and discussed the process of working from start to finish.

Currently, she lives in southeastern Virginia with her husband and children and is working on more historical romance books in a variety of settings such as: Viking era Ireland, medieval Scotland, Victorian England, Regency England, and medieval Ireland.

There are common elements, such as strong female characters and historical settings, that tie my works together, but my great hope is to not be boxed in as an author.

Such wounds cut deeply, linger, metamorphose, and when they eventually surface, their consequences are dire.Such wounds motivate my novel The Meadow, a work of literary historical fiction set in America's heartland in the late 1960s.

Many of our specialist speakers have published works in their chosen fields, others, such as Industrial Britain expert Emma Griffin, have worked extensively in television and radio and have consulted on and presented a variety of popular historical programmes, this ranges from Emma's involvement in More 4's «The Real Mill» alongside Tony Robinson, to Mark Roodhouse's consultation on the BBC2 documentary series «Wartime Farm».

With a friendly local guide, work your way around the historical center's cobbled streets and learn all about the town's maritime history and links to seafaring explorers such as Sir Christopher Columbus.

Powered by the Unreal Engine 4, you battle your way through (or more realistically, against) some of the most iconic and well loved books, historical events and works of art such as Edvard Munch's «The Scream», Miguel Cervantes's «Don Quixote» and even a battle against William Wallace... the real one, not the Mel Gibson version, though they both may or may not appear in the game... mostly may.

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.

Johnson works predominantly in mixed media sculptures and paintings, combining bare materials such as mirror, wood, and shea butter with loaded iconic objects including record covers, CB radios, historical books, and common domestic objects.

Greene Naftali's program has reintroduced seminal figures, such as Guy de Cointet, Tony Conrad, and John Knight; and opened a ground - floor space with an inaugural exhibition featuring new and historical work by Dan Graham in September 2014.

With more than 100 works from the original exhibition and a big, richly illuminating catalog, «The Armory Show at 100: Modern Art and Revolution» at the New - York Historical Society offers an excellent opportunity to ponder such questions.

The historical importance of McCall's work has been recognized in such exhibitions as «Into the Light: the Projected Image in American Art 1964 - 77,» Whitney Museum of American Art (2001 - 2); «The Expanded Screen: Actions and Installations of the Sixties and Seventies,» Museum Moderner Kunst, Vienna (2003 - 4); «The Expanded Eye,» Kunsthaus Zurich (2006); «Beyond Cinema: the Art of Projection,» Hamburger Bahnhof, Berlin (2006 - 7); «The Cinema Effect: Illusion, Reality and the Projected Image,» and Hirshhorn Museum, Washington DC (2008); and «Dreamlands», Whitney Museum of American Art (2017).

The vitrines display sculptures with titles such as Historical Land Mind and Sandmandia, which are meant to be seen from above or in the round, while the niches present several works, including Elusive Combinations and Glorious Assemblage, whose branch - like forms and scroll - like bases evoke the art of bonsai.

His work has been exhibited in key historical exhibitions such as John Szarkowski's Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974 - 1981 at the Museum of Contemporary Art, Los Angeles (2010).

Her work addresses how the historical can be used as a material to address contemporary conditions such as loss, the swipe, the flatness and limitations of an image, emotions in classical sculpture, the use of models, muscle aches from using a computer, color as a language, and the democracy of materials such as clay.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto's performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the exhibition will include works from all decades since the 60s and commission artists to create new work for 2017.

Conceived as a series of interrelated and rotating stand - alone exhibitions, this presentation will highlight major singular works from the collection, such as a newly acquired monumental cut - paper silhouette tableau by Kara Walker, as well as the Barbara Lee Collection of Art by Women, groupings of work by artists held in depth such as Louise Bourgeois and Nan Goldin, and thematic and art - historical groupings.

Over the years this space has hosted important exhibitions - both of recent works and also historical surveys - featuring works by artists such as Alighiero e Boetti, Louise Bourgeois, Francesco Clemente, Helmut Federle, Suzan Frecon, Alberto and Augusto Giacometti, Amar Kanwar, Alex Katz, Kimsooja, Yayoi Kusama, Richard Long, Kazimir Malevich, Agnes Martin, Piet Mondrian, Antoine Pevsner, David Rabinowitch, Ad Reinhardt, Robert Ryman, Albert Steiner, Philip Taaffe, and Ian Wilson.

Historical counterpoint for such work can be found in the practice of Patrick Saytour, which, while wildly diverse, includes experiments with painting on oilcloth and other domestic fabrics: Ceysson & Bénétière (F10) offer a solo presentation for the curious.

The redesigned galleries will include both the collection's familiar works as well as objects on loan from other institutions, such as historical Native American art, folk art, furniture and art from other regions and time periods.

His earliest photographic works recreated historical subjects, such as self - portraits, still lifes and mythological scenes.

With over thirty years of experience in the arts, Baker has worked on more than 300 exhibitions with over 800 artists including both emerging artists and world - renowned figures such as Richard Serra, Cy Twombly, Mark di Suvero, Chris Burden and Damien Hirst and historical exhibitions of work by Henry Moore, Alexander Calder, Joan Miró, and Andy Warhol.

Their love of the history of photography and their use of historical photographic techniques, such as the cyanotype, has produced an original and contemporary body of work.