Sentences with phrase «human figures often»

Minimal images on a black background are embellished by the sensuality of the aerial disciplines of the circus and the dynamism of the human figure often associated with nature.

Configurations whose internal order and resulting proportionality manifest a certain similarity to the human figure often emerge, but these can not be seen as true - to - life depictions.

Not exact matches

He shows that «For each age, the life and teachings of Jesus represented an answer (or, more often the answer) to the most fundamental questions of human existence and of human destiny, and it was to the figure of Jesus as set forth in the gospels that those questions were addressed.»

The adventure of raising tiny humans is an ever - changing landscape of highs and lows, and we often feel that just when we're «figuring it out,» everything changes.

These programs also are meticulous about grading things like units and significant figures, details that human graders often overlook.

«The parts of the human genome linked to complex diseases such as heart disease, cancer and neurological disorders can often be far away from the genes they regulate, so it can be dificult to figure out which gene is being affected and ultimately causing the disease.»

However, at the increased levels seen since the Industrial Revolution (roughly 275 ppm then, 400 ppm now; Figure 2 - 1), greenhouse gases are contributing to the rapid rise of our global average temperatures by trapping more heat, often referred to as human - caused climate change.

Data is only as valuable as the questions you ask of it: insight provides the human element which can so often be missing from decisions made based purely on facts and figures.

While images of St. Sebastian were often an excuse to paint the human figure, not all martyred Saints were this «elegant».

DiMeo was a member of the so - called Monster Roster — Chicago artists who in the mid-twentieth century developed a distinct approach to the human figure: disarticulated and often terrifying.

The figure of the body plays heavily in her installations, which often feature fabric printed to evoke hair or skin, curving steel rods that evince the human spine, and draped sculptural installations made of women's clothing.

His most well - known works are monumental, sculpture - based public art pieces as well as palm - sized sculptures, which often depict human figures, critique American society by addressing race, sex, class and money.

Armitage's work reveals an abiding fascination with the human figure, which he often rendered in flattened form with schematized oblong or diminutive heads and stick limbs.

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.

Mr. Faragasso is the author of the well - known and often referenced books, The Student's Guide To Painting and Mastering Drawing the Human Figure from Life, Memory, Imagination.

Concentrating on the human figure, De Dominicis often referenced mythical and epic leaders like Gilgamesh, the Sumerian king who sought immortality, and Urvashi, the Hindu Veda goddess of beauty.

In the early 60s the human figure enters the work, but it is often interred in the blasted landscape or, later in the 70s it is flayed and skeletal.

Human figures are often absent from Heade's botanical paradise.

In the 1960s, he started establishing himself as one of the most prolific printmakers out there, while his artworks often contained subjects from his studio, such as imprints and casts of the human figure.

Her work often features figures and lines that relate to human instinct and worship, life and death, sexuality and violence, fear and love.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

Much of her work alludes to the human presence without the inclusion of figures, focusing often on the remnants of daily life and providing commentary on society's materialism.

Ursuta's works often expose or challenge the vulnerability of the human body through threatening contraptions, architectures, and figures.

Often this will take the form of life - sized depictions of multicolored human figures, each rendered in rich pastels and charcoal.

Often taking cues from the people he sees on his many travels, his almost voyeuristic artworks explore the human figure in its many forms.

Swords, daggers, demons,, animal, human and hybrid beings, an imagery that often draws from art history and, more generally, from a spiritual and mystic dimension, guide us through a twilight where figures emerge from the scrawled surface — they seem to prevail, and then again they are absorbed by the invasive gesture of the pen.

Once he has photographed his re-created environments — always devoid of figures but often displaying evidence of recent human activity — Demand destroys his models, further complicating the relationship between reproduction and original that his photography investigates.

The human figures that appear in Petros's works are often engaged in acts of active observation, having their faces disguised or turned away from the potentially objectifying gaze of the viewer.

In many of his compositions, human figures engaged in indeterminable tasks work against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes.

Characters, often mimicking members of Mull's family, are shown as cartoon figures interacting with human beings styled in 1950's attire.

Human figures appear often in Petersen's early work, but nearly always as ciphers.

South African - born, Amsterdam - based painter Marlene Dumas (born 1953) focuses primarily on the human figure, often making explicit nods to the history of portraiture.

As with these earlier painters, Knowles» compositions are often dominated by robust human figures who morph or de-emphasize the space they occupy.

The clearly defined, almost mechanistic forms of his youth gave way to more lyrical images in which the human figure was often hinted at through sensuous washes of colour.

His intimate works penetrate to the core of human integrity, often depicting images of figures wrenched in that critical space where the strained coordination of mind, body...

A leading figure in the «Neo-Realist» movement that emerged in China during the 1990s, Xiadong paints from life — often in plein air settings — and has an eye for narrative details, mannerisms, and subtle human interactions.

It's no surprise to me that some of the best artists grappling with the human figure at Miami Basel were artists of African heritage, like Hank Willis Thomas, whose work often deals with portrayals of African Americans in the media and how those ideas have shifted over time.

De Kooning's most perfectly beautiful paintings, perhaps, came even earlier, in the late Forties when he had been concerned with the city as an experience as well as with the human figure, with which he often had odd difficulties, and made some kind of fusion between the two themes, resulting in a sequence of miraculously «occupied» canvases, free of the human figure but alert, bristling with its presence.

Confronted by an art scene dominated by the Abstract Expressionists, and having no truck with abstract painting, he just kept doing what he'd always done: painting narrative and acerbically observant scenes of life keyed to the human figure, often his own, sometimes as an element of remarkably assured and phlegmatically grotesque allegory.

Water and boats often feature in his landscapes, and they do here, with the human figure sometimes floating on or above water.

Alison Saar works in a primarily figurative vein, featuring the human body, often female, in various states of emotional or physical expressiveness that can border on the surreal, as when tears weep from a person's back, or tendrils descend from a figure's feet to root into the earth.

Rounded shapes often act as stand - ins for human figures, their curved form mimicking the contours of an arched window.

By 1990 she had begun to create fully realized human figures, and she often employed beeswax to heighten the suggestion of flesh, as in Untitled (1990).

Like his counterparts in the Minimalist movement in sculpture, such as Donald Judd, he felt that sculpture had been tied to the human figure for too long, often having a latent anthropomorphic reference even when the work was completely abstract.

They often fuse cartoon figures and human forms into a state of metamorphosis, each simultaneously reflecting a plethora of emotions and gestures; a scream and a laugh within a single expression.

Surreal and at times overwhelming, the compositions often feature a singular human figure — in many instances a portrait of Heffernan herself — intertwined with a myriad of flora, fauna and symbolic objects.

Ekblad's expressive paintings often depict winding and twisted lines, some indicate human - like figures, others resemble landscapes.

Evolving from visions of macabre hospital scenes depicting human wreckage and paintings of bloody, butchered meat to portraits of stoic, sophisticated figures clad in Western suits and often wearing white masks, Zeng's art often reflects his concentrated exploration of the unconscious.

He often depicts human figures traversing through geometric environments, which are reflective of the «eternal present».

In the early 60s the human figure enters the work, but is often interred in the blasted landscape or, later in the 70s it is flayed and skeletal.