Sentences with phrase «human figure in painting»

Michael Werner Gallery, London, is pleased to present Body Shop, a group exhibition exploring depictions of the human figure in painting and sculpture.

The centerpiece of the exhibition is a pair of inverted human figures in painted cast silicone.

Not exact matches

Assuming the letter you've received doesn't paint the whole picture for you, calling this number will be well worth it as talking to a person not only helps you understand the nuances of the situation but there's comfort in knowing that a human being with a name and a face at the IRS is there to help you figure things out.

If the human is the final figure to be painted in, and therefore in some sense special or climactic, this is very much understated (v. 23).

Her destination is Delicado Shelter, one of some 300 shallow caves in the region known for paintings of human figures, deer, canines, felines, birds, rabbits, snakes, and other desert animals.

There was a story, too, for an even more obscure painting, one with symbols that looked like atomic radiation warnings (flowers, to Mellaart's eyes), little triangles floating nearby (butterflies), and four forklike figures arranged in a cross (humans with outstretched arms).

The result truly feels like Van Gogh's paintings come to life, in which real - life human figures inhabit the world as Van Gogh saw it.

In the highlands of Scotland, a scientific expedition led by Elizabeth Shaw (Noomi Rapace) and her significant other Charlie Holloway (Logan Marshall - Green) discover a long - lost cave where an over -30,000-year-old painting shows a tall human - like figure pointing toward a specific set of stars.

The church of San Andres Xecul has an unusual dome painted in colorful stripes, but the highlight is the bright yellow facade, on which some 200 painted sculptures of human figures, angels, monkeys, fruit, corn and quetzal birds.

Although the keyhole operates as a flat shape — rather than a portal, or hole into another space — this motif, when it becomes a surrogate for the human figure, introduces spatial depth in Manister's paintings for the first time.

Created over the course of three years from 2012 through 2014, in collaboration with a community of artisans in Rajasthan, India, the large 2 - pole structures (each measuring some 10» x 18» x 12» high) transform MASS MoCA's signature Building 5 gallery into a kind of tent village, inhabited by painted human figures both supine and in motion, and emblematic symbols and signs both obvious and arcane.

Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.

His two recent paintings, Patches of Color, Three Hands, and a Partition Line (2015) and A Lot of Dark Blue Legs and Patch of Color (2015), are covered in multiple layers of pastel blues and purples that reveal only certain body parts of human figures.

In lush evocations of the female form, such as Nude — Elbow on Knee (above), painted in 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figurIn lush evocations of the female form, such as Nude — Elbow on Knee (above), painted in 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figurin 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figure.

His paintings portray the human figure encoded in bio-morphic forms and gestural marks, and typically use a restricted palette.

«Rob Zeller's debut book on drawing and painting the human figure promises to be the most definitive on the subject in decades.

In «Sublimation: Ancestral Patterns,» the painting with the clearest presence of human figures is Les Trois Danseuses — Homage to Berber.

John Hartley Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

The canvases range from a few feet tall to roughly human height; in preliminary drawings for the paintings Richter sketched human figures alongside the layouts of some of the works, indicating the meticulousness with which the scale of the works was devised.

His graphic works of self - portraits, portraits of old lovers, and depictions of the human figure produce the same grotesque and expressive natures as those seen in his paintings.

Diebenkorn often said how much he owed to European painting and the debt is acknowledged here, in the second room of the show, in big works depicting human figures framed in landscape — on a terrace, at a window — or secluded in shady interiors, in placid unanimity with their surroundings, sunken - eyed, reading, or lost in contemplation.

But not long ago, when I spent a long summer in Europe, looking at paintings in museums and people on the streets, I realized how much I miss the figure, how much I look for human interactions when I look at paintings.

This well - documented work brings to life a «collector of souls» whose passion for painting the human figure at a time when abstraction was the rage resulted in years of financial hardship and obscurity.

The image is surrealistic, despite the fact, that the human - dog figure is not visually unsettling, a frequently used theme evident in other surrealist paintings such as Leonora Carrington's «Recital of Dreams» (c. 1930) and Max Ernst's «Attirement of the Bride» (1940).

In subsequent years his brushstrokes became larger, he painted nature and made use of toys he described as «archetypes of the human figure».

Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

This exhibition explores Lichtenstein's treatment of the human figure in works that proceed from his iconic cartoon paintings from the»60s.

The works in the exhibition demonstrate Hockney's longstanding dedication to painting and to depicting the human figure.

Siskin and Fly are continuations, on a more intimate scale, of her recent large paintings inspired by English birds, in which she gives her human figures feathered collars but few other defining accessories.

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.

This exhibition focuses on Lichtenstein's diverse treatment of the human figure in works that proceed from his iconic cartoon paintings from the»60s.

Through sculpture, painting, drawing or collage, the artists chosen for this show share a consistent interest in addressing the human figure, each with a distinct style and motivation.

Since the late 1970s the inverted human figure has predominated in Baselitz's paintings.

The school's core program is a four - year Master Class comprised of 40 students and focused on the primacy of painting and drawing from observation, the human figure and in depth study and research after old and modern masters.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

In these identically sized paintings, he depicts his own artistic impulse, filling them with his own emotion, rather that the visages of human figures.

In her expressionistic drawings and paintings of the last three decades, acclaimed South African artist Marlene Dumas has focused on the human figure, probing themes of love, desire, despair and confusion in order to slyly critique social and political attitudes toward women, children, people of color and others who have historically been victimizeIn her expressionistic drawings and paintings of the last three decades, acclaimed South African artist Marlene Dumas has focused on the human figure, probing themes of love, desire, despair and confusion in order to slyly critique social and political attitudes toward women, children, people of color and others who have historically been victimizein order to slyly critique social and political attitudes toward women, children, people of color and others who have historically been victimized.

David Park and Milton Avery — who bucked the trend and painted the human figure in abstract - expressionist times — receive deserved attention in a gallery show highlighting their substantial influence on two major postwar art movements.

William Goodridge Roberts (1904 - 1974), well - known Canadian artist of landscape, still - life and human figure painting, attended the École des beaux - arts in Montreal (1923 - 1925) and the Art Students» League in New York (1927 - 1929).

In a series of new paintings, Clive Smith, a celebrated conceptual portraitist, eschews the human figure and yet captures the intensity seen in the best of portraitIn a series of new paintings, Clive Smith, a celebrated conceptual portraitist, eschews the human figure and yet captures the intensity seen in the best of portraitin the best of portraits.

Around the year of 1928, he began painting still lifes and human figures, but it wasn't long before he was dabbling in more abstract works as he was becoming increasingly more influenced by the likes of the aforementioned Pablo Picasso and Joan Miró [2].

1957 Opening Exhibition, Signa Gallery, East Hampton, NY Artists of the Region, Guild Hall Museum, East Hampton, NY Italian and American Artists, New York Art Foundation, Rome, Italy The 6th in a Series of Exhibitions of Painting & Sculpture, Executive House Gallery, New York, NY A Review of the Season, Signa Gallery, East Hampton, NY Figure & Vision: The 7th in a Series of Exhibitions of Painting & Sculpture, Executive House Gallery, New York, NY 1958 Vision of A Man, Museum of Modern Art, New York, NY The Artist's Vision: 1948 - 1958, Signa Gallery, East Hampton, NY The Human Image, Signa Gallery, East Hampton, NY An International Selection, Signa Gallery, East Hampton, NY

In an effort to share their dreams with the world, they depict their visions in surreal paintings, sculpture, and installations: human figures with removable faces, exploding bursts of color, and room - size heads installed with shanty interiorIn an effort to share their dreams with the world, they depict their visions in surreal paintings, sculpture, and installations: human figures with removable faces, exploding bursts of color, and room - size heads installed with shanty interiorin surreal paintings, sculpture, and installations: human figures with removable faces, exploding bursts of color, and room - size heads installed with shanty interiors.

In this way, Bacon tackled landscape painting similar to the way he dealt with the human figure.

The exhibition explores how Underwood drew on the influence of non-Western art from Africa and Mexico in the 1920s and»30s to create striking paintings, life drawings, wood engravings and sculptures that responded to the rhythm and form of the human figure.

Francis Outred, Chairman and Head of Post-War and Contemporary Art EMERI: «Bacon's Head with Raised Arm poses the question that would haunt Bacon for the duration of his career: how to paint the human figure in the age of photography.

I am especially drawn to scenes of human activity, so many of my paintings involve figures in the context of a landscape.

For example, in the book that accompanied her painting Aqueous Flesh (2009), Pundyk reveals that her reference for the human figure was clipped from a newspaper, tree branches from a photo taken out of her family - in - law's New York apartment, facial features from a candid photo of a friend on vacation in Paris, and an abstracted version of two women sourced from an image in a waiting room magazine.

The human figure remained Bacon's principal subject, however in the 1950s he made several paintings of animals and a small series of African landscapes and animals.

Painted in a palette of bright hues to deep blacks, Brown's works are centered on the human figure, built with layers of vibrating oil paint.