Sentences with phrase «key paintings by»

Contrasting key paintings by Jackson Pollock and David Hockney, the exhibition considers two different approaches to the idea of the canvas as an arena in which to act: one gestural, the other one theatrical.

31 Jan 2011 IMMA seeking to locate three key works for forthcoming Barrie Cooke exhibition Following the launch of the Irish Museum of Modern Art's programme for this its 20th anniversary year, the hunt is on for three key paintings by the distinguished Irish artist Barrie Cooke.

Following the launch of the Irish Museum of Modern Art's programme for this its 20th anniversary year, the hunt is on for three key paintings by the distinguished Irish artist Barrie Cooke.

The exhibition includes further key paintings by Pollock, as well as by artists who were close to him, including Lee Krasner and Robert Motherwell, as well as those who subsequently responded to his legacy, such as Andy Warhol.

Opening September 6 and on view through November 29, 2009, the Museum of Fine Arts, Houston, will showcase a selection of key paintings by Joaquín Torres - García, one of the most influential Latin American artists and theorists of the first half of the 20th century.

Château la Coste presents Different Places, an exhibition of key paintings by Sean Scully.

This tour - de-force presentation includes key paintings by American Precisionists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, and iconic works by the masters of straight photography such as Paul Strand, Berenice Abbott, and Edward Steichen.

Not exact matches

Colour is key, and paint is carefully mixed by hand to achieve an appealing, contemporary palette.

For Democrats, the key talking point is all about the narrow Virginia victory by former DNC Chairman Terry McAuliffe over Republican gubernatorial candidate Ken Cuccinelli, the state's attorney general, whom they spent millions of dollars painting as an «extreme» conservative out of touch with voters in the increasingly purple state.

Purple family room features high gloss purple walls and ceiling painted Sherwin Williams Mesmerize accented with purple wall moldings with art in gold frame situated over a purple velvet sofa accented with purple stripe pillows illuminated by antique brass swing arm sconces facing a two - door dark purple media cabinet under a wall hung flatscreen TV across from yellow Greek key stools, Lee Industries Bongo Ottomans.

To everything there is a season, and to the donut shop that serves as the location for some key scenes in the 2015 indie hit Tangerine (a.k.a. «The iPhone movie»), the season has turned to being bought by actor Danny Trejo and getting a new, bright pink paint job.

Both unexpectedly suffer a bit from lapses in engagement, but the latter track is the livelier affair, with anecdotes about farting contests between key grips, and Heffernan pointing out a couple bits in the movie's finale that are copped from Rocky III, from the LeRoy Neiman - inspired painting done by his brother, an artist, to his commissioned choice for a closing credits song, Earth Cock's «Cry of the Cougar,» that is a straight - up rip - off of Survivor's «Eye of the Tiger.»

The institution at the center of this film is a decaying old - school prison with heavy keys and paint flaking off the bars, and seemingly run by the ginger mafia.

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The Trail grade features new color - keyed bumpers and overfenders, and it continues to be distinguished by an aggressive hood scoop and silver painted front and rear bumper accents.

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Visit the upper level to see exceptional works such as the mid-19th century cedar sideboard crafted by George Dowden for the Cribb family's historic Ipswich residence «Gooloowan», Australian paintings such as Frosty morning by key Australian landscape painter Elioth Gruner, and the exquisite Australian wildflower tea service designed by renowned Australian botanical artist Ellis Rowan.

However, Bowser trapped everyone inside the castle walls and paintings, with Luigi and the other heroes being locked behind a door with the key to his door being guarded by King Boo.

The key mode is Turf War, where you fight for territory by painting the ground with your color, but there are other option, each with a different twist on a classic game mode.

A number of key works have been recreated inside the gallery and one wall has been given over to a new painting, Muddy Water Falls (2015), using mud from the River Avon: the top half, a dynamic hand - and finger - painted mural; the bottom half, a flurry of drips, splashes and smears, created by gravity, reflecting the constant redistribution of this mud in the tidal river of its origin.

She turns up the retinal volume again and again in the grounds of her paintings — vast seas of cerulean blue edged by crisp white lines, or enveloping acts of domestic violence; equally riveting cadmium reds, oranges, and crimsons saturating the picture plane beneath angry gorillas, dancing Chubby Checkers, and kissing lovers; Day - Glo yellows that push up against sharp blacks as «bad guys» in black suits point guns and walk up and down staircases — and employs unusual compositional strategies to draw our attention to these expanses of high - key color.

The program will feature Dan Colen; Loie Hollowell; key works by Emil Bisttram, Raymond Jonson, Agnes Pelton, Florence Miller Pierce, and Stuart Walker of the Transcendental Painting Group; an animated film by Oskar Fischinger; and an installation by Arturo Bandini.

Featuring: Dan Colen; Loie Hollowell; key works by Emil Bisttram, Raymond Jonson, Agnes Pelton, Florence Miller Pierce, and Stuart Walker of the Transcendental Painting Group; an animated film by Oskar Fischinger; and an installation by Arturo Bandini.

It includes a significant group of paintings by Frankenthaler from the 1950s to the 1990s alongside oil paintings and watercolours by Turner from throughout his career, with key works from the National Gallery and the Yale Centre for British Art collections.

By building layer upon layer of close valued, luminous colored strokes of oil paint, across areas and vast fields of highly keyed, chromatically rich, and close valued color, Monet achieved a look and feel that goes well beyond conventional easel painting.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

Part of the Mannerist art «game» was making paintings based on other paintings, but removing most of the key traditional elements - being «super cool» by removing the important bits.

The artworks in «Eighteen Years of Painting People» on view at QF Gallery contain another layer: They represent Weber's personal search for the keys to lock the quandaries of personal relationships complicated by conflicting desires.

In the 1960s, English painter John Hoyland's Color field paintings were characterised by simple rectangular shapes, high - key color and a flat picture surface.

In addition, Fujiwara integrates key works from the Tate collection into the exhibition — including paintings by Francis Bacon, Patrick Heron and Alfred Wallis and sculptures by Barbara Hepworth — in an innovative display that mixes them with his own works.

In the second room of the gallery, Bertrand Lavier has choose to address the notion of time, key in the narrative of the exhibition, by selecting a series of his renowned Mirror Paintings.

Using a palette of the same four colors, Cranston reworks an abstract painting by one of the key figures in Modernism, Swiss / French artist, architect and designer Charles - Édouard Jeanneret, better known as Le Corbusier (1887 - 1965) in six variations, identical in form and composition but in different color combinations.

Jinchi further emphasizes the formal beauty of the disembodied communication by keying each painting to a color: blue, green, yellow.

«The Shinnecock Years,» a solo show by William Merritt Chase (1849 - 1916), features key paintings from the late 1880s to 1900.

These new, site - specific works are contextualized by sculptural assemblages composed of derelict toys, objects, and ephemera from the artist's studio, and a selection of charcoal drawings and key paintings made between 1990 and the present.

Combining sculpture, painting and video work in the exhibition, Reyes McNamara investigated key texts by Mexican American theorist Gloria E. Anzaldúa, Dominican American writer Junot Díaz, and Cuban American poet Gustavo Pérez Firmat

The historical dimension of the «Five and Forward» installation is irresistibly lovely, keyed to that sweet spot of American Impressionism so deftly relayed to the canvas in such gems now on view as seven paintings by William Merritt Chase, who founded his plein air art school in Southampton in 1891.

This new group exhibition features painting and sculpture works by four contemporary Korean artists whose striking and intimate art serves as a record of personal experiences and key moments in life, memorializing the often - overlooked value of the everyday.

Painted four months after his arrival in Arles, Wheat Field displays some of the key lessons that Van Gogh learned in Paris — the bright palette of the Impressionists and the individual touch of the Neo-Impressionists — which by then had developed further into his highly personal, signature style with its distinctive brushwork and singing colour.

A key work of the show is a sixteenth - century painting by Lavinia Fontana, who rendered a secular portrait of an infant in a cradle — supposedly the first of its kind in art history.

I'm inspired by nature and I'm pushing my technique to get more and more texture on the canvas while keeping transparency.This gives the painting a third dimension and lightening becomes key when looking at my paintings.

Presenting a selection of key paintings and works on paper spanning Pensato's career — from being mentored by Joan Mitchell and Mercedes Matter at the New York Studio School in the 1970s to her most recent metallic painting, «Gold Batman» — this book reveals her work's evolution.

Featuring paintings, drawings, prints, photographs and sculpture from the museum's collection made between 1970 and 1979, «Circa 1970» includes recent key gifts of works by McArthur Binion, Robert Blackburn and David Hammons.

It includes small - scale paintings by «other art» artists of various trends, key pictures and objects by masters who make up the nucleus of the «Moscow conceptual school», works by classics of Sots - Art, Post-Modernist painting and photo - realism, as well as works by leading figures of the post-Soviet period.

This work complements the museum's 2017 additions of a monumental painting and a signature video work by Bradford, commemorating the collaboration between the BMA, co-organizer of the U.S. Pavilion at the 2017 Venice Biennale, and Bradford, the 2017 representative for the U.S. and enabling the BMA to show three key areas of the artist's practice — painting, video, and sculpture.

Displaying key works such as Robert Rauschenberg's Barge (1962 — 63) and Mark Rothko's Untitled (1952 — 53), as well as an extraordinary group of large - scale paintings by Anselm Kiefer transcendently juxtaposed with Joseph Beuys» Lightning with a Stag in its Glare (1958 — 85), Bilbao plays its most powerful trump card: scale.

The show takes the considerable risk of starting not with a punchy, scene - setting overture, but a roomful of intriguing, mostly small early paintings by key figures.

The notable mural has been housed at Indiana University since 1942, and though it has been lauded by scholars as a key work in the history of 20th - century American painting, this exhibition marks the first time the mural will be studied in context.