Sentences with phrase «in early modernist»

The results owe something to Milton Avery and Alex Katz, revere nature and revisit the important role of landscape painting in early modernist abstraction.

Inspired by the work of Egon Schiele, he reexamines the romantic, emotionally charged gestures found in early Modernist painting.

He places himself in an early modernist painting tradition that, despite an apparently abstract affect, is always representational in its ultimate methods.

Not exact matches

Until the early 1970s historians of Pentecostalism argued that the movement emerged ex nihilo at the turn of this century as an alternative to fundamentalism in protesting the modernist trend that was capturing mainline Protestantism.

This question, central in the fundamentalist - modernist controversy of the early 20th century, treats Mary herself as a side issue, a mere conduit for the one she bore.

Kaplan, in short, was a positivist and a modernist, while Whitehead was one of the earliest post-positivists and post-modernists.

In Roman Catholicism, for example, one goes from the official condemnation of the «modernists» in an early part of this century to what might be appropriately described as the dominant position today, found in Pope Pius XII's Human generis (1950), which, concerning the relation between evolution and creation, accepts evolution yet insists on the special, «second» creation of the human souIn Roman Catholicism, for example, one goes from the official condemnation of the «modernists» in an early part of this century to what might be appropriately described as the dominant position today, found in Pope Pius XII's Human generis (1950), which, concerning the relation between evolution and creation, accepts evolution yet insists on the special, «second» creation of the human souin an early part of this century to what might be appropriately described as the dominant position today, found in Pope Pius XII's Human generis (1950), which, concerning the relation between evolution and creation, accepts evolution yet insists on the special, «second» creation of the human souin Pope Pius XII's Human generis (1950), which, concerning the relation between evolution and creation, accepts evolution yet insists on the special, «second» creation of the human soul.

The central issue in the early debates between Fundamentalists and Modernists was on the question whether the gospel should emphasize as the essence of the gospel, deliverance of the humans from sinfulness or affirmation of the human vocation to creativity and cooperation with God in recreating nature and society according to the purpose of God.

The late Pope did more than any pope of the last century to defend and reassert beyond any doubt the stable and objective character of Catholic teaching - more even than Pius X with his great encyclical Pascendi Dominici Gregis, since modernist incursions had become very much more powerfully established during the pontificate of the unhappy Pope Paul than they had been in the early years of the century.

So two weeks — and one very early AM shoot — later, here I am, styling one pair of sunnies, in two clean - line, Modernist inspired looks!

The house is an early Modernist home, and I've been trying to figure out ways for the holiday decor to complement, not compete with the already beautiful details in the architecture, and still be easy and quick to do.

Rejected in life, after death he was recognized as the preeminent early modernist and embraced as the model artist - martyr in an uncaring, hardheaded world.

The décor in the salon evokes the lavish, modernist splendor of the villa's early days, with lovely gold accents in the hearth and sunburst mirror.

Surface Tension: Pictorial Space in 20th - Century Art traces this transformation, from early modernist works influenced by Cubism through the age of Abstract Expressionism.

In many ways, his work can be understood as a reinterpretation or recontextualization of an earlier European Modernist vocabulary.

The exhibition will look back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

The exhibition looks back at Hockney's most iconic works and key moments in his career from the 1960s to the present, including his early experiments with modernist abstraction, his mid-career experiments with illusion and realism, and his current jewel - toned landscapes.

Among Pictures artists from CalArts were Salle, Goldstein, James Welling, Matt Mullican and Barbara Bloom, whose 1972 «advertisements» of steel windows for modernist homes, Crittall Metal Windows (1972), are the earliest works in the Met show.

Butler's title for the show is Precisionist Casual, which invokes the early American modernist movement, Precisionism, which was practiced by Charles Sheeler and Charles Demuth, as well as the New Casualists, a term she coined in an essay published in The Brooklyn Rail (June 2011):

Framed by Gill & Lagodich in a custom - made variation of an early 20th - century American Modernist painting frame; simple, flat artist - made construction; painted wood, antiqued gesso, stone gray patina; molding width: 6» Museum purchase funded by the John R. Eckel, Jr..

The lines of academic and modernist influence from Europe to the United States can be traced in the field's early days, by such artists as Stuart Davis and Marsden Hartley.

The early modernist geometric abstraction of Wassily Kandinsky (1866 - 1944), Kasimir Malevich (1879 - 1935) and Piet Mondrian (1872 - 1944) is clearly acknowledged in Lerner's paintings over her career.

This year was considered a «safe» year for blue - chip art galleries in Miami and stashed everywhere amidst the mid-century abstractionists, early modernist masters, and more recent art stars, was Haring.

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

As early as 1906, af Klint was working with abstract imagery — giving her a lead of several years in the modernist race to be the first to discover abstraction.

His early work was largely shaped by non-Western art, but in the later period, he was much inspired by leading modernists such as Picasso, Arp, Brancusi, and Giacometti.

One can't help but wonder: would Jacob Kassay's monochromatic paintings be different if his former boss, Christopher Wool, hadn't worked in his early days for the modernist sculptor Tony Smith?

Throughout the following decades, after relocating to Los Angeles in 1963, Hockney allowed his naturalistic style to outweigh his early concern with cultivating a modernist aesthetic.

His early 1950s works, painted in a European Modernist style, often show originally «American» subject matters such as scenes of western expansion.

Acts of process seem paramount in your earlier work but not in the modernist etymology of word, not by revealing the making of the thing but rather reacting to it, altering the thing's physical state by responding to its raison d'être.

Tillman Kaiser shares concerns with other contemporary European artists in displaying a fascination with early modernist design, Utopian ideology and Futurism redux.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

Similarly, when Hiller made Dream Screens (1996), a very early interactive web - based artwork in which the viewer clicks on the screen to change its colour while a woman's voice discusses the role of dreams in modernist art, simultaneously overlapping with a woman's voice discussing the theory of colour.

The 1940s in New York City heralded the triumph of American Abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine.

Jizi was by and large self - taught, synthesizing the techniques and philosophy of traditional Chinese ink painting with individualistic expression culled from early modernist artists in the West.

The continuity of materials and aesthetic allude to the school's early modernist roots in the 1920s and correspond with the formal exercises Macuga herself undertook as a student in Poland.

The 1940s in New York City heralded the triumph of American abstract expressionism, a Modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, surrealism, Joan Miró, cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham.

Strengths in French and Italian painting of the 17th and 18th centuries, 19th - century sculpture, and early modernist painting characterize this collection.

Four displays, which began in September 2015, explore four different themes which examine ways of defining Arab art from its early modernist beginnings and geographies.

With Mylar foil and straw bales, painted stripes and gestural drips, German painter and sculptor Anselm Reyle (born 1970) breathes new life into the motifs of Abstract Expressionism, Pop art, Minimalism and earlier movements, leaving no modernist master untouched in his reprisings of their motifs.

While Meckseper's earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

German - born Bluemner was an important member of the modernist circle that formed around Alfred Stieglitz's galleries, 291 and the Intimate Gallery, in the early twentieth century.

The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot's work in context of the Barnes's unparalleled collection of impressionist, post-impressionist, and early modernist paintings.

In the latter perspective, early minimalism yielded advanced Modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movemenIn the latter perspective, early minimalism yielded advanced Modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movemenin favor of the anti-form movement.

«In the early twentieth century the general public often linked portraiture to flattering transcription and middle - class values; the genre provided strict, longstanding conventions that some modernist artists chose to bend or break,» said Walz.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

«In the early 20th century the general public often linked portraiture to flattering transcription and middle - class values; the genre provided strict, longstanding conventions that some modernist artists chose to bend or break,» said Walz.

At once gestural and reductive, his works amplify strategies first explored by modernist artists in the early 20th century.