Sentences with phrase «history as an allegory»

Not exact matches

as an adult i realized that it is infinitely difficult to have a personal relationship with anything described in any book of the bible, though it is very possible to relate to the book, as allegory, or possibly history.

When reading the history of interpretation of Scripture, one is permitted to smile but not to laugh at allegory, symbolism, typology, and levels of meaning, for these were sincere efforts to hold the Scripture as Scripture while insisting that the congregation deserved some relevant word for its own situation.

Marshall's subdued, slightly melancholy, slightly hopeful canvases are often allegories — they rethink various art - historical genres, such as history paintings and self - portraiture, by applying elements of African American culture to them.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

The works evolve into art history as well as allegories perceived by the artist through the twist of expression given by its creator.

Harris reaches into the past through his photographic archive as an allegory of history repeating itself.

The exhibit, organized by gallery director Leonie Bradbury, emphasizes painting's heft in the canon, the hallucinatory beauty it can evoke, and the medium's role as a carrier of history, allegory, and symbolism.

Baltimore - based artist Mequitta Ahula's work Performing Painting: A Real Allegory of Her Studio (2015) used herself as a means to depict and deconstruct the history of figurative painting as it relates to the body along time and space.

Monkman reinstates these lost dandies into his landscapes, where they act as observers of reinterpreted classical Western allegories and imagined scenes from North American colonial history.

However, instead of merely cataloging species as Audobon did, Ford uses the familiar visual language of the well - known wildlife artist and other early natural history artists to depict historically - based allegories of the violent collision of man and nature.

The enormous cavernous figure is represented as a narcissistic «thinker», part statue, part cyborg, a confluence of allegories and histories that, in Leckey's words, has become «metalized, gauzified, vegetalized and petrified, a medieval gnostic gone septic, its body now merely a thing amongst things — the spirit has departed the flesh.»