Sentences with phrase «kind of history painting»

We also see this revival in Vincent Desiderio's work, and Rebecca Solnit has aptly described the hybrid landscape - portraiture of Julie Heffernan as a «new kind of history painting.»

Over a career of almost 60 years, Richter has made an enormous variety of works, moving between abstraction and portraiture, landscape and a kind of history painting.

Even after Richter's turn to figuration since the early 2000s, he has maintained his characteristic use of brash colors and dynamic, theatrical compositions, now applied to a «new kind of history painting,» in the thematic and formal tradition of Max Beckmann and George Grosz.

LIU Xiaodong is a painter of modern life, whose large - scale works serve as a kind of history painting for the emerging world.

Now returning to New York with his sixth solo show at David Zwirner, Rauch will present a new body of work, both in large and more modest formats, that will continue his eerie exploration of the kind of history paintings one might expect to see lining the walls of the Museum of Uneasy Dreams.

Not exact matches

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.

The heads are a perfect illustration of the dual mission Mr. Marshall has been pursuing with a kind of holy fervor for almost 40 years now: building a sturdy bridge for figurative painting from the 15th century to ours, over treacherous spans of recent history that declared both figuration and painting to be finished — and at the same time trying to rewrite history itself.

Each work is profoundly permeated with the history of painting and combined with its spectacular technique, suggests an ambiguous kind of postmodern allegory.

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 wanted to learn more in school about painting and history, [information] that I could use to combine into the kind of art I was into.

Richter's more recent work has transformed into more recognizable narratives, a kind of contemporary history painting: «When I changed to narration it was also an urge that had to do, on a very simple level, with reality... I felt the desire to paint things that related to what I saw in the world.»

At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson's terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at will.

You come out of a bit of a painting history; gesture; hints of constructive; a kind of record keeping; painting that pays attention to relationship more than heroics, though the mark and scale suggests that's where you were initially coming from?

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

My current painting practice centres on the representation of objects and is inspired by the history of still life painting — in particular, 17th century Dutch vanitas paintings, a genre which employed objects as a kind of commentary on contemporary moral and social concerns, as well as exploiting their aesthetic potential.

Jahn writes that the show, «drawn from Paul Allen's collection... is a kind of survey of landscape paintings throughout history and as such maps the shifting expectations that viewers have for looking at what we consider the outdoors.

Contributed by Jonathan Stevenson / Victor Kanefsky's effervescent documentary Art Bastard casts 76 - year old New York painter Robert Cenedella as a kind of aesthetic Robin Hood who robs from hallowed art tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciate.

You often reference your own artwork in such pseudo-historical paintings, placing yourself in a kind of false history.

I have never wanted to limit myself to one or two kinds of mark - making - I find it exciting and challenging to find different ways of using paint, both by looking at art history, and through the process of using paint itself.

It is true that history painting of this kind seem out of place on the walls of an exhibition, and that it would have been far better if they could have been embodied in some homogeneous scheme of decoration of a building, in which their meaning would have been consonant with the purpose for which the building was intended.

The wall text explains that the piece is composed of residue sanded and shaved from other works, which «evoke a new kind of «history painting.

The first major museum survey of its kind, The Painting of Modern Life re-examines what has been arguably the most influential development in the history of contemporary painting: the use and translation of photographic Painting of Modern Life re-examines what has been arguably the most influential development in the history of contemporary painting: the use and translation of photographic painting: the use and translation of photographic imagery.

GCThis Upper East Side New York gallery space, it feels like it's filled with this particular kind of history, and I think both of us have this regard for the history of painting, specifically, New York School.

It encompassed history painting and various types of genre painting, as well as landscape painting, and of course portrait art of all kinds.

Its use of the Madonna challenges one presiding narrative of painting's history in the West as a predominantly white discourse (with a problematic legacy of imperial borrowing), and it acts as a kind of avatar for Ofili's own manifold mythology.

They portend to the dimensions of great history paintings, yet give us such little detail or sniff of a narrative of any kind.

You kind of build your own history in this little painting.

Part of the struggle is that there's so much information in the history of painting, you kind of have to ask yourself what and how you want to go about things that are important to the growth of your painting.

Listening to Poons speak about color and the satisfaction he feels when it brings light to the surface of a painting is about as far from the kind of rhetoric exercised in graduate art history classrooms today as Pollock is from Warhol or, in more topical terms, as Obama is from Bush.