Sentences with phrase «ideas of landscape painting»

She chooses to push organic life to a level of entropy and encourage the viewer to put preconceived ideas of landscape painting aside to become involved with the world on the canvas before them.

It was there that Thomas Cole and William Stillman, founding members of the Hudson River School Painters (1825 - 1875), developed the idea of landscape painting as an exercise in seeking truth, a truth found through close contact with nature and a disciplined observation of it.»

Throughout his career, Turner revolutionised the idea of landscape painting.

Not exact matches

Townsleygallery has a different perspective, «I absolutely love spending time creating a new painting as it represents my view of either a landscape or idea and the fact that this can then hang as an artwork feels as though I have created something tangible and truly unique.

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am a 70 some artist who rarely sold anything, despite years of being online... for one, I paint with pen and ink, and do not put out anywhere enough for galleries to want to bother with, plus my work is realistic tho from my head... also, I work from themes, visualizing metaphoric ideas, so they're not the usual still life or landscapes..

Consistently in love with landscape — and the idea of landscape as an abstraction — Wolf Kahn has lovingly built a very vivid and beautiful oeuvre since first exhibiting his paintings at the Hansa Gallery, one of New York's first co-op galleries, nearly sixty years ago.

It was a moment when de Kooning turned to what he called the tableaux: «forcefully composed paintings with ideas of less frontal or variously posed figures in a well defined landscape space» (J. Cowart, «De Kooning Today,» de Kooning 1969 — 78, Gallery of Art, University of Northern Iowa, 1978, p. 15).

Each painting stands as a portrait of its individual owner (depicting homes, work, families, and ideas), while the entire group aggregates to a community of individuals across the broad landscape of contemporary urban life.

He was reacting against their inward focus, their idea of painting as an expression of individualism or a personal emotional landscape.

Through the use of color and chiaroscuro and an ethereal sense of light and space, Hollowell paints images that play with ideas of foreground and background, figure and ground, and body and landscape.

From his signature «blackboard» paintings (which are oil on canvas) to the more representational landscape paintings in this exhibition, Fisher constructs constellations of ideas, thoughts, and images much like the disjointed nature of the unconscious and that of memory.

For an artist whose output extends far beyond the fine paintings of World War One and exceeds the parameters of British landscape painting within which his work is usually understood, the recurrence of certain themes and preoccupations — a sense of significant place, and the idea of trees as sentient, mystical beings — creates a satisfying symmetry to his career.

The works build through a stream of images and ideas with a dreamlike, surreal feeling, to which Heffernan contributes by titling each one «Self Portrait...» In her recent paintings, the figure set in a tortured landscape functions as a metaphor for contemporary experience.

These painted landscapes of the horizon have great potential to blur distinctions between the world and our idea of the world, shaped by our own perspectives.

But then the landscapes ask you to keep staring as well, because they harken back to the idea of American genre painting, without the clarity of American genre painting.

LIU WEI's two - by - four - meter canvas piece The East No. 5 (2015) was supposedly an attempt to mash up ideas of monumental painting with the tranquility of landscape 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.

Some of my ideas for painting form in the landscape and in my ongoing work with archaeology.

In the annals of art history the idea of an elderly English artist turning his hand to landscape painting is not particularly surprising.

Informed by landscape and the visible reality of the physical world, these works move away swiftly from that mode of representation, positioning themselves as transient moments (in the artist's visual present or in his memories of such moments) and simultaneously as objective ideas about color, forms, and composition - that is, about painting itself.

The Glass House was the start of Johnson's 50 - year odyssey of architectural experimentation in forms, materials, and ideas, through the addition of other structures - the Brick House / Guest House, Pond Pavilion, Painting Gallery, Sculpture Gallery, Ghost House, Library / Study, and Da Monsta — and the methodical sculpting of the surrounding landscape.

«Using a crude aesthetic to merge ideas of race, landscape, and Americana, my work creates a mythological narrative that explores a black perspective from my many years growing up in suburbia painting graffiti.»

The included works range from painting and sculpture to VR technology and 3D animation, shedding light on the idea of «the virtual» not solely as a computer - generated technology, but as a concept linked to the potential to remap social and political landscapes through a reorientation of the physical and sensorial.

Co-sponsored by Kestrel Land Trust and the Smith College Museum of Art (SCMA) Join Laurie Sanders, naturalist, and Linda Muehlig, associate director and senior curator of painting and sculpture, SCMA, to explore the idea of «reading the landscape.»

Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron of ideas about action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage's intellectual Zen advances, Rosenberg's painting as an action, the Janis Gallery Dada show, and the Stable Gallery exhibition of his very own White Paintings.

Rodney McMillian (b. 1969, Columbia, SC) works in multiple modes, from sculpture to video, performance, and painting, including compositions on bedsheets that engage ideas in abstraction yet simultaneously invoke representations of the body and the landscape.

Hemali Bhuta: Artists thrive on the idea of uncertainty, give it environmental, political, social, economic in the hope of this utopia but what if we reach the state of certainty, then would we look back and find ways of addressing the uncertainties of the past or we shall start painting beautiful landscapes?

Cézanne's unfinished painting of a landscape at the Phillips Collection gave me the idea of using color to structure a painting.

Artists in the show sketch their idea of landscape through sculpture, drawing and painting.

In «Carbon Night» (1978), done in acrylic and oil, one sees evidence of the artist's decision to not fit in, to step away from received ideas about landscape painting.

San Francisco based artist Joe Hengst presents his idea of the future world in imaginative, acrylic landscape paintings.

At the same time, the American scene was equally hostile to us because if, as we thought, to make an authentic gesture without any a priori idea of how it would turn out, was the real gambit, then everything — «hard - edge» abstraction with its ideology, Social Realism with its ideology, regionalism with its ideology, landscape painting with its sentimentality, portrait painting with its class background, anything you could imagine — was equally threatened by our premise.

One of the ideas at the centre of Turner and the Elements, which has been curated by Ines Richter - Musso and Ortrud Westheider, is that of Turner as an artist who was acutely aware of the traditions of landscape painting, but who renewed and reinvigorated this tradition, in part through the way he absorbed new discoveries in the natural sciences into his art.

Lately, she says, she's «been thinking about the many ways in which one can view the same object, and how far one idea or one shape can be stretched, simply through how it is presented»; her new show accordingly runs variations on a fixed subject via a set of «inverted landscape» paintings (plus some 15 drawings), in irradiated hues, where space seems to twist itself inside out.

The history of Irish art in the twentieth century shows that landscape painting was closely entwined with Irish nationalism and the search for an «Irish» identity, although artists pursued these ideas in quite individual ways: Jack B Yeats (1871 - 1957) through his intense expressionist landscapes populated by unmistakably Irish figurative icons; Paul Henry (1876 - 1958) and James Humbert Craig (1878 - 1944) through their outstanding renderings of sky, sea, turf and light in their West of Ireland views.

His conservatism, and fear of environmental damage to the American wilderness, made him load his later landscape painting with literary and moralizing ideas, which tended to interfere with his art.

From Terry Svat's work that is a reminiscent of Lascaux cave pictographs by creating the idea of packing up, moving on, a new freedom, Pauline Jakobserg and her constructing narratives that confront cultural memories, Felisa Federman depicts nature connected with folk legends, Miguel Perez Lem landscapes evoking the grandeur of the Andes Mountains and Nancy Nesvet beautifuly paints the threatened future of glaciers and wildlife.

Gottlieb created «Burst» and «Imaginary Landscape» type paintings for the remainder of his career but, unlike some of his colleagues, he did not limit himself to one or two images.Discussion of Gottlieb's art is usually limited to mentions of «Bursts» or «Imaginary Landscapes», which detracts from the broad range of ideas this artist examined.

If his landscapes are deliberately loose and spontaneous - he says he often has no idea how a painting will turn out - his figurative and still life studies are models of tightly controlled craftsmanship.

Inspired by such European masters as Claude Lorrain, John Constable and Turner, Hudson River School paintings are characterized by a realistic, but idealized view of nature and reflect the idea that the beauty of the American landscape was a manifestation of the divine.

The third show in a series on Hudson River School paintings from the collection argues that the idea of an American landscape filled with «sacred» sites is as much a cultural invention as it is an accident of nature.

Here the blazing figures form a tight, bright jigsaw, while landscape and sky benefit from more variegated brushwork, as if Thompson at the end of his life was toying with the idea of breaking up his big flat shapes and painting in a more spontaneous manner.

He introduces the idea of painting as ornament; stock objects such as landscape, s...

His arcing, expressionistic curves recall the lyrical abstraction of Hans Hartung, while his agile finessing of negative space evokes the East Asian idea of «ma» — the passages of supple emptiness enveloping forms in historical Chinese and Japanese landscape painting.

Of those artists who did travel to the Levant and North Africa, many went with the idea of plein - air painting, although this became much more convenient following the invention of the collapsible tin paint tube in 1841 by American painter John Rand - an event which had a significant impact on the development of Impressionist landscape painting with its focus on capturing the momentary light at a scenOf those artists who did travel to the Levant and North Africa, many went with the idea of plein - air painting, although this became much more convenient following the invention of the collapsible tin paint tube in 1841 by American painter John Rand - an event which had a significant impact on the development of Impressionist landscape painting with its focus on capturing the momentary light at a scenof plein - air painting, although this became much more convenient following the invention of the collapsible tin paint tube in 1841 by American painter John Rand - an event which had a significant impact on the development of Impressionist landscape painting with its focus on capturing the momentary light at a scenof the collapsible tin paint tube in 1841 by American painter John Rand - an event which had a significant impact on the development of Impressionist landscape painting with its focus on capturing the momentary light at a scenof Impressionist landscape painting with its focus on capturing the momentary light at a scene.

But he had the greatest knowledge of plein air painting, and introduced very advanced ideas on landscape painting into the Impressionist circle.

Wightman makes landscape paintings using acrylic and collaged wallpaper, focusing on ideas of the picturesque, the romantic and the sublime.

Ati Maier's compact paintings and drawings explode the idea of landscape from a singular view to a weaving vision of terrrestrial, cosmic and abstracted spaces in carnival colours.

More recently, the artist has been painting the landscape of his native land, studying the effects of color and the changing seasons, while also returning to the idea of examining the tensions between figures in social groupings.