Sentences with phrase «key paintings made»

Leiris shared Bacon's feel for nerve - end acuity in art, as his great autobiography Manhood attests, and with Bacon's sanction, wrote the essay for Poligrafa's landmark monograph of 1987, which also included a selection of 240 key paintings made by Bacon himself.

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.

Not exact matches

The report makes some key points which are sometimes overlooked as the hostile press and media attempt to paint as bleak a picture as possible.

KEY PRODUCT POINTS Made of wicker and painted white D - ring mounting; hardware include.

KEY PRODUCT POINTS Made of hand painted wire.

KEY PRODUCT POINTS Made of cast iron with a hand painted black and white finish.

KEY PRODUCT POINTS Made of wood covered in painted canvas.

KEY PRODUCT POINTS Decals make a fast, no - fuss alternative to messy paint and stencils.

KEY PRODUCT POINTS Made of wood with a painted finish.

KEY PRODUCT POINTS Made of painted cotton canvas.

«If your school PTA or a group of parent volunteers wants to paint a playground map for your school, the key to producing a good playground map is to first make a pattern out of construction or butcher paper,» Bonne says.

You can simply talk about a new topic to provide information, but consider the difference it would make, especially for visual learners, if you started a new topic or a lesson with a painting that illuminates key concepts under study.

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Turbo buyers aren't in the market to save money, so most walk in the dealership and simply request the best equipped, highest - marked 911 available, resulting in a set of keys to a Turbo S. Unfortunately for big spenders, outside of made - to - order paint and special order interior options, there weren't many ways to differentiate their maxed - out, all - options - checked Turbo S from the rest of the Porsche crowd.

The Sundance RS came with the 2.5 liter engine, in standard or turbocharged trim, the latter cutting quarter - mile times to around 16 seconds and making 0 - 60 around 8 seconds; the RS came with two - tone paint, leather - covered steering wheel, fog lights, color - keyed fascia, dual horns, remote liftgate release, better seats, AM / FM stereo cassette with four speakers, and variable intermittent wipers.

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The moment the locals cotton on to the fact that they can make money from those sweaty, money - laden tourists with expensive cameras hanging round their necks, they start hanging up racks of t - shirts, tacky trinkets, kinky key rings, cutesy carvings, sexy sculptures, neon paintings, and native costumes — in short, anything tourists will buy.

+ Exclusive access to the Alpha and Beta + 1 Million Mile High Club Ownership - Invite your guests to your private club in the game + Spaceship shaped USB stick of game and all digital elements + CD of game soundtrack + Fold up glossy full color map of the game universe + Set of 5 Ship Blueprints + 10 - inch painted model of your in - game ship + Hardcover copy of «The Making of Star Citizen» including loads of behind the scenes images and info, prelim concept art, development stories + Hang for a day with Chris Roberts and key peeps on the dev team + Titanium Citizens Card

Colors, in their variety, combinations and sequences, reference lived experiences from garishness to mysticism, and it is this range that is key to their depth of feeling... Compositions are built on simple layouts — diamonds intersecting cruciform shapes — but it is the complicating of these geometries through color that make the paintings happen.

My colleague John Mac Kah donated a painting to such a local nonprofit association of lawyers, and thereafter made several thousands of dollars of sales to clients who saw his painting at the event and wanted to talk about commissions or were interested in other originals / prints.The key is to be visible at such an event and to make it easy for interested people to connect with you.

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.

Documenting, evoking and reflecting upon this key decade in black culture and history, «Circa 1970» presents paintings, drawings, prints, photographs and sculpture made between 1970 and 1979, all drawn from the Studio Museum's collection.

Importantly, time is key to the making and viewing of Caivano's works, as the structure of her paintings is seemingly always in transition, something that unfolds and is still unfolding.

Going a step farther to make the case for the gesture as the most critical element, Abstract Expressionist artists recognized that you could make a gesture without paint but there would be no evidence of it, so gesture and paint were inextricably linked as the essential unit of painting, with the brush playing the key role.

The problem persists in a lower key in other works of the period, including pictures made in 1953, while Diebenkorn was teaching in Illinois: the Urbana series, like the Albuquerque paintings, often gives the viewer the illusion of looking down at a distant landscape, as though from the harness of a parachute, rather than across at the matter on the canvas.

The exhibition includes six major paintings Still made in San Francisco between 1946 and 1950, illustrating the key formal developments he pioneered which came to define abstract expressionism.

The key, he says, is to avoid distance and to make painting human: «The moment you take something that has a human effect on you, something you can't describe, the whole thing transforms from a topic to something that is about yourself.»

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.

STRENGTH AND SPLENDOR: WROUGHT IRON FROM THE MUSÉE LE SECQ DES TOURNELLES Nearly 900 door knockers, escutcheons, locks, keys, signs and other objects made of wrought iron from a renowned collection in Rouen, France, mirror the Barnes's quirky installation of antique metalwork next to early modern paintings.

[127] Also in Aesthetics, Clement Greenberg, in his classic essay «Modernist Painting», uses Kantian criticism, what Greenberg refers to as «immanent criticism», to justify the aims of Abstract painting, a movement Greenberg saw as aware of the key limitiaton — flatness — that makes up the medium of pPainting», uses Kantian criticism, what Greenberg refers to as «immanent criticism», to justify the aims of Abstract painting, a movement Greenberg saw as aware of the key limitiaton — flatness — that makes up the medium of ppainting, a movement Greenberg saw as aware of the key limitiaton — flatness — that makes up the medium of paintingpainting.

However, instead of creating slickly - made celebrations of contemporary culture or painting commodities that Americans desired, as Warhol and James Rosenquist habitually did, Polke subverted the colourful, consumerist optimism with tawdry materials, deliberately off - key printing and random splashes of paint that implied a world that was not rising ever - upwards, but slowly fracturing apart.

The exhibition shows the exceptional contribution made by Castoro in the areas of painting, language and performance, and demonstrates how some key figures of Minimalism, especially women artists, have not received the attention they deserve.

After this collection passed from her estate to the Foundation, we reviewed and consolidated its storage, making improvements by moving key paintings to a new storage facility.

In these and other letters (which were donated to the Smithsonian Archives of American Art) Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Few artists could be said to have disrupted and influenced the art world quite like Max Ernst, whose explorations into automated painting and the unconscious made him a key figure in both Dadism and Surrealism.

paintings are key works of the 1960s pop art movement, a moment when many artists made work derived from popular culture.

Structure is a key characteristic of modernism, and paintings made by Folinsbee during this period reveal him to be much more engaged in the development of modern art in America than has been previously thought.

Allmaier comments: «I think the key to letting the paintings make themselves is to regard the materials, along with their contingent circumstances (and it's silly to think of circumstances as separable from an object anyway) as mental states, without distinction from a particular physical state.

Michael Simpson makes large scale paintings in ongoing series that repeat and rework a number of key elements.

Mark - making, gesture and touch — those are the key components as to how to generate images through painting.

The delineated and formal structure of Cinematic will allow connections to be made between key paintings and sculptures within the core Collection.

The exhibition brings together his key sculptural, painted and photographic portraits, embracing both existing work and new work made especially for the Serpentine Gallery.

Key examples of Dieter Roth's poignant «Kleiderbilder» paintings, made from the artist's own clothes, also will be on view, as will the installation «Grosse Tischruine (Large Table Ruin)», created by Dieter and Björn Roth with Eggert Einarsson between 1978 and 1998.

Among these will be «The Floor I (Studio - floor from Mosfellsbaer, Iceland)» from 1973 to 1992; a series of wall - mounted works form the 1980s comprised of such at - hand materials as toys, sweets, tools, refuse, and dead insects in plastic tubes; and key works from the «Tischtücher» series of paintings made in the late 1980s and early 1990s from used tablecloths.

Sickert, a key member of the group is a particular influence for Yiadom - Boakye, she has said she admires his ability to describe a lot with very little, that «his mark - making often appears sparse and rough, graduating the tone from dark to light, working from the darkness at the back of the painting forwards into the light.

And the painting, showing three mysterious figures framed against a moonlit sea, makes a dazzling restatement of Doig's key strengths.

In making my paintings open in this way, I am trying to create an object that is representative of my own way of looking at the world while also keying into the emotions and minds of those who view it.

Fontana, whose slash and puncture «spatial concept» canvases made the radical statement that the surface of a canvas could be extended into the surrounding space, has long been lauded as one of the key figures in post-war European art, while Accardi's paintings of brightly colored signs painted on canvas, and later on «sicofoil», were widely known in Italy but were not exhibited extensively elsewhere until more recently.