Paul Pretzer's painting reflects his deep observations of
the history of classical painting; Velazquez, Goya, Munch, and even Cézanne's are his starting point but then his work has a surfeit of add characters and objects.
Not exact matches
Defy
history as you try to become part
of real
classical paintings in Assassin's Creed IV: Black Flag.
They are displayed alongside
classical Roman works and specimens
of natural stone that provide a context for the relationship between
painting and natural
history, geology and archaeology.
Kauffmann's specialty would be the manly preserve
of classical history painting.
Paolini's belief that a work
of art is not just reflective
of the «here and now» but is also resonant
of earlier traditions, has led him to investigate art's relation to the past, creating intriguing installations deeply rooted in art
history from the Renaissance to today - from plaster casts
of classical sculptures shattered on the ground, to photographs
of iconic
paintings by Northern Italian Renaissance painter, Lorenzo Lotto, or inquiries into the construction
of the image.
Gardner ties in imagery from
classical painting to open up the historical perspectives while simultaneously asserting his contemporary identity into the
history of art.
Additionally, the complex network
of lines in a Pollock or a de Kooning, however chaotic they may seem at first glance, form a perfectly enclosed system, one that is not inconsistent with the compositional
history of classical European
painting.
No longer setting a stage for a dystopian lifestyle borne by the delusions and failures
of the Soviet system, the
paintings on view are referencing Soviet visual representation and its
history by juxtaposing, in fragments, hypothetical subjects from Soviet life and
classical or baroque mythology.
Her works are often constructed on a grand scale; with narratives
of destruction and hope, they are in dialogue with
classical history paintings.
There's copious amounts
of invisible
history to this project including references to 12
classical paintings of the Venetian cityscape, a recent tsunami in the Maldives, and the reliance the nation has on the fruit.
Although her work results from deep observations
of the
history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends
classical notions
of genre and narrative as she invites viewers into a delicious domain
of confident brush strokes with a new aesthetic.
Those images combine the commercial and
classical as icons
of art
history are juxtaposed with contemporary
painting, commercial illustration, photojournalism, and three - dimensional household items.
With the aim
of drawing attention to the lack
of racial diversity through the
history of painting, Awol Erizku creates photographs,
paintings, sculpture, and video installations that evoke
classical artworks whose subjects are replaced with models
of color.
Posed before a violent tableaux (a picture within the picture that pays homage to the sweeping compositions
of classical history painting), the scene appears as a suspended moment in a mysterious narrative.
The subject
of art
history is a constant undercurrent in his work, whether Koons elevates kitsch to the level
of classical art, produces photos in the manner
of Baroque
paintings, or develops public works that borrow techniques and elements
of seventeenth - century French garden design.
Rooted in the craft
of sculpture and
paint, it rises from intertwining everyday objects in all possible and surprising ways, but still with a formal reference to the
history and tradition
of classical art.
The bright
painted colours
of classical statues and temples has worn away over
history.
Tate's renowned collection
of historic, modern, and contemporary art includes
paintings ranging from late 19th century Victorian depictions
of classical mythology and
history, to present - day politicized representations
of the artist's own body.
2011 - Present Workshop Instructor,
Classical Drawing, Ellensburg, WA, Taught
Classical Figure Drawing, Golden Mean and Visual Gravity (Spring 2011), Sight - Sizing /
Classical Alterier (Summer 2011), Portraiture and Halftones (Fall 2011), Composition Visual Gravity & Asymmetric Balance (Fall 2011) 2006 - Present Affiliate Faculty, Drawing and
Painting Program, Central Washington University 2009 - Present Affiliate Faculty, Art
History Program, Central Washington University 2006 - Present Workshop Instructor, Eight Week Professional Practices, Foundational Drawing and Figure Drawing Workshops, Gallery One, Ellensburg, WA 2008 - Present Private Instructor, Drawing,
Painting and Professional Practices for post graduate students, Ellensburg, WA 2008 - 2009 One Year replacement, Art Education Program, Central Washington University 2004 - 2005 Affiliate Faculty Metropolitan State University, St. Paul, MN, Taught Independent Study art students, Curatorial responsibilities in art gallery and Gallery / Museum Course 2000 - 2002 Affiliate Faculty, College
of Visual Arts, St. Paul, MN, Foundational Drawing Class and Senior Thesis Committee 1998 - 1999 Affiliate Faculty, University
of Minnesota, Undergraduate Beginning Drawing and Beginning
Painting 1996 - 1997 Teaching Graduate Fellow University
of Minnesota, Sole responsibility for class organization, lectures, demonstrations, discussions, and grading for Beginning Drawing (Fall 1996, Fall 1997 and Winter 1997), Advanced Drawing (Spring 1997), and Color (Winter 1997.
Virginia Jaramillo's meticulously formed abstract pulp
paintings draw on a rich variety
of sources spanning
history and crossing cultures, from pre-Hispanic civilisation to
classical geometry.
Half Gallery has a selection
of paintings by Genieve Figgis on view, all
of which look like someone's taken a
classical figurative
painting, held a candle to it, swirled the
paint around, and repainted the figures to look creepy and sad — a successful exercise in enlivening
history.
In recent years, Urs Fischer has been exploring the genres
of classical art
history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life in cast sculptures and assemblages,
paintings, digital montages, spatial installations, mutating or kinetic objects, and texts.
His
paintings blend contemporary and
classical elements inspired by his rural Texas heritage with his study
of mythology, religion, and
history.
Both works have elements
of classical history paintings - their scale and triangular compositions echo famous scenes
of Liberty over Battlefields or George Washington crossing the Delaware.
An heiress
of pathbreaking abstractionists like Lee Krasner and Joan Mitchell, the British painter Cecily Brown updates the idiom
of Ab - Ex
painting by reaching back farther into
history, summoning such figurative touchstones as the harrowing caricatures
of Goya and the
classical reposes
of Poussin and Ingres.
Adding additional market power to this print is the bust on the right: its placement in this print, made in 1933, echoes the position
of a cubo -
classical bust that Picasso included in a
painting from the year before, Nude, Green Leaves and Bust, which made
history in 2010 when it sold for $ 106.5 million at Christie's, a record for the artist.
The next several hours I spent examining his art, and what I found was rather curious: the lenses that proved most helpful in understanding the
paintings were those that at first glance seemed the least important, namely my own experiences as a European expat, my
history as a lover
of all thing
classical music, and my scholarly expertise in a number
of nonwestern art traditions.
Perhaps the waning
of the modern humanist subject is best captured in Desiderio's mural - sized Un» Istoria (an ironic take on Alberti's Renaissance concept
of istoria which laid the foundation for Western
history painting).6 Parodying figures from a
classical white marble frieze in this mid-20th-century scene, a line
of mental asylum patients wearing white hospital gowns stroll through the park.
Her passion for plein air
painting — a fundamental practice for the Impressionists — in tandem with her deep reverence for
Classical and Renaissance
painting, spills onto her canvases to create abstract works that interweave echoes
of history with the contemporary in a fresh and enduring way.
The narrative
of An Answer, begins with myths
of classical antiquity, moves towards Renaissance intellectual
history, modernity, and, ends finally, with an apocalyptic time beyond our time where that dripping
paint has become the form
of trees and archways.