Sentences with phrase «history of figure painting»

In looking through a book on the history of figure painting, it was clear that most of the subjects were women.

Not exact matches

Facts, figures, history, extent and division of territories, flora and fauna; how they look, how deadly or how tame they are, and how many of them exist, will stir exciting memories for those who have been Down Under and paint a precise picture in the mind for those who haven't.»

Their ambition (50 + figures) reminds me of the technical virtuosity academic history painting placed on multi-figure compositions.

A leading figure of his generation, Colen pursues an art deeply rooted in the history of painting.

Marshall has long said that he paints unapologetically black figures using black paint in order to push the Western canon of art history in a more diverse and representational direction.

A VISIONARY AND IMAGINATIVE PAINTER, Marshall is recognized for his thought - provoking explorations of American history and representations of the African American experience, using black paint for his black figures.

The exhibition opens with Himid's monumental Freedom and Change, 1984, which appropriates and transforms the female figures from Picasso's Two Women Running on the Beach (The Race), 1922, into black women, powerfully and humorously subverting one of the most canonical paintings in Western art history.

Pat Steir is an acclaimed figure in contemporary art history, known for her wall drawings and signature style of abstract painting.

In his most recent body of work, Santiago reimagines the history and story of the Black Knight that figured in several Renaissance paintings and literary accounts, such as the one depicted in the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknown).

Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas brings together the works of three singular American artists whose work redefines history painting in a contemporary cHistory: Robert Colescott, Kerry James Marshall, Mickalene Thomas brings together the works of three singular American artists whose work redefines history painting in a contemporary chistory painting in a contemporary context.

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.

We wondered, not just about the choice to paint the figure and landscape in the face of the abstract expressionist juggernaut, but, considering this crew, the essence of masculinity at this time in history.

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.

Meanwhile, figures in the painting claim to be out of not history, but art history, and they draw out critical clichés.

Pat Steir is an acclaimed figure in contemporary art history, known for her site - specific wall drawings and signature style of abstract painting.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redFigure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redfigure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract paintings, sculptures and installations.

For the past thirty years Sills has been noted for her life size cutout figures in painted birch plywood portraying famous characters from art history, creating over 100 of them.

The artist emphasised the power of painting as a medium for capturing events and iconic Arab figures throughout recent history.

Though absent of the wax batik textiles Shonibare typically uses, this new body of work translates such patterns and colours into mural painting, bronze sculptures and screen prints, producing fantastical reimaginings of some of art history's most sacred figures.

In the second half of the 1700's, two figures arose that were to make their fame in fortune in London and bring history painting to their native land.

Whimsical and dynamic her paintings remind us of the great panoramic history paintings populated by heroic figures and the symbols that accentuate their narrative.

The works engage the psychological realm of attachment to the female body and how that's processed through both a traditional and a contemporary reading, as the many reclining, sitting or lounging female figures relate distantly to any number of female portraits (often reclining female nudes) painted throughout history.

An ongoing drawing project based on the work of Saskatchewan - born artist, Agnes Martin, one of the central figures in the history of abstract painting.

Inspired by the painting Wanderer Above the Sea of Fog (1818) by the German artist David Caspar Friedrich, Kiefer's human figure dominates the landscape connecting two periods of German history, the imperialist ideas of the early 19th century manipulated by the Third Reich that lead to the Holocaust.

To See Beyond Its Walls (and access the places that lie beyond) combines a large - scale painting of a female figure with a reimagined interior of Sans - Souci Palace (1813) in northern Haiti, tracing conflicted histories and current political contexts of Hispaniola (the shared island of the Dominican Republic and Haiti) and America.

He painted figures as fleshy and threatening as Pablo Picasso's women, just when history was starting to worry about the lost perspective of real women — whether Lee Krasner and Joan Mitchell or the ones put on canvas for the male gaze.

Her paintings convey a profound sense of history, recalling figures such as Mary Heilmann and stalwarts of Modernism, but they shy away from grandiloquence.

Richard Diebenkorn (1922 — 1993) was a pivotal figure in the history of modern painting.

FIGURING HISTORY: ROBERT COLESCOTT, KERRY JAMES MARSHALL, MICKALENE THOMAS Three otherwise dissimilar African - American artists have all used their painting to monumentally reconceive visual depiction of the black body.

Ruznic's vivid paintings speak for themselves, depicting figures that seem to emerge from the caverns of human history, from within their own supports, and somehow from within the viewer's own recollections.

Overwhelmed by the prevalence of white figures and symbols in art history, Marshall's paintings in the Souvenir series focus on Black history as reconciliation.

The historical depth to these paintings and the political importance of a show that so deftly depicts and places black figures within art history, simply can't be overstated.

Richter's large - scale paintings question the context of history painting in a society whose historiographic idea of progress has been significantly altered, hence Richter's lone, heroic figures depicted singularly or in an ecstatic mass.

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.

Philip Guston is a painter often referred - to in relation to Bradford, thanks to their shared affinity for a certain brand of cartoonish realism and the vague surrealism of the objects and figures in their work; the Modern's history with Guston and his paintings on view in the gallery adjacent to Bradford's only serves to re-invoke the comparison.

Yiadom - Boakye, meanwhile, conjures her enigmatic fictitious figures directly out of her imagination, proposing alternative narratives and pointing to future art histories and usually painting them in a single day.

The exhibition traces the development of Sillman's work over the past 25 years — from her early use of cartoon figures and a vivacious palette, through to her exploration of the diagrammatic line, the history of Abstract Expressionism, and a growing concern with the bodily and the erotic dimensions of paint.

The profound blackness of the sculpture's exterior is reminiscent of the blackness of the figures that populate Marshall's paintings, and as is the case with so much of his work, A Monumental Journey, speaks to centuries of struggles, solidarities and triumphs, from the continental origins of the talking drum to the confrontation of history in public space today.

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.

MEQUITTA AHUJA: NOTATIONS Apr 13 - Jun 2, 2018 Mequitta Ahuja's recent work explores the currency of the figure of the artist at work in the history of European and American figurative painting.

Frazier drew out the irony of the moment by also photographing the painted murals that positioned Obama as a figure within a broader history of industrialization and civil rights — a dream distant from the reality pictured.

Benton painted regular working citizens and their history, including figures of the Ku Klux Klan.

I'm into figuring out how to put the drawing onto a canvas so that it becomes a part of the painting history dialogue, and not part of a computer, or digital art dialogue.

He employs multiple approaches to the figure / ground relationship, recalling his personal history of painting.

Moments in the history of painting are often a source of inspiration for Graham, whether a specific detail from an existing painting, or the figure of the amateur painter - the theme of Graham's The Gifted Amateur (2007), presented at his 2007 solo exhibition at Lisson Gallery.

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.

A central figure in the history of feminist art, Christina Ramberg explored traditional notions of beauty and their relationship to our bodies in her paintings from the 1960s and 70s exhibiting a wide range of influences including costume history, surrealism, outsider art, Pop art, and comics.

The representation of the human figure has been a part of art history as long as paint has been used to depict images from the natural world.