Sentences with phrase «landscape tradition from»

Not exact matches

It was, he said, only a «fresh trench» or irrigation ditch — he borrowed this image from Thomas Mann, who referred to such motifs as coulisses — in the landscape of the wider Christian tradition.

As massive open online courses (MOOCs) continue to expand and online academic institutions gain more credibility, the education landscape is breaking away from long - time learning traditions — on - campus classrooms and printed textbooks — to provide alternatives.

Seville could not be understood fully without exploring its Islamic past; windy streets and squares splashed with mudéjar towers, inherited from the old Mosque towers, compose an urban landscape with a medieval tradition.

We loved our time in Peru, and loved the photo opportunities here, from the landscapes, to the wildlife of the Amazon, and the tradition villages for people watching / photography — it's such an interesting country and culture.

Those staying at the hotel, you will have the opportunity to discover the beautiful Atlanitic coast landscapes, from the nearby beaches, neighbouring towns such as Ciboure, and even enjoy one of the many local festivals and Basque traditions.

British landscape painting has a rich tradition; this fascination comes, I think, from being surrounded by a unique and diverse island.

Takahiro Iwasaki builds exquisite, intricate, almost impossibly tiny structures, associated with industrial society and faith traditions on micro landscapes (of towels and other domestic fabrics) that seem one breath away from destruction.

These recent works with their multiple perspectives and deceptively simple rendering of landscape and figure look much connected to the tradition of Korean ink painting from which they do indeed come.

Yet Diebenkorn, responding to the American landscape's emotional pull in an inherently modern way, comes from a generation of artists who rejected tradition.

The artists participating at the Grundy Art Gallery are Allison Katz, who displays a trilogy of works comprising painting, sculpture and print; Amy Stephens, whose practice centres on reclaiming objects and images from the native landscape; Ruth Beale with new large - scale works on paper, drawing on the British tradition of satire to critique current events; and Rebecca Birch, who brings an interactive installation investigating the politics of surface.

The Northern Song tradition, and the invention of the monumental landscape painting, came from that.

In the 1980s, a decade when artists commonly appropriated styles or imagery from earlier art historical periods, Mark Innerst became known for beautifully crafted natural and urban landscape paintings that gave new life to the American tradition of the romantic sublime.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

In Paris, Abboud was influenced by the works of Pierre Bonnard, Roger Bissière and Nicolas de Staël, and began to shift from a Lebanese tradition of figurative and landscape painting to colourful abstraction.

Drawn from the American landscape and still - life traditions, her works depict rural pastorals and coastlines, oftentimes with nondescript barns or cottages.

Their aim was to resist the conservatism of Canada's landscape tradition, which they believed had prevented modernism from developing in the country.

Taking inspiration from the Philippine weaving and the Jewish folk traditions of her ancestors, along with traditional landscape painting techniques from her academic training, she interweaves image with refuse in order to reveal seamless yet textured transcultural contradictions.

Using leftover paint from construction supply stores, McMillian responds to the absence of bodies in the history of landscape representation; his pours and splatters evoke what he describes as an «abject history of turmoil or the spillage of blood» that is often missing from the pastoral tradition.

In response, we constructed and photographed sets illustrating this contradiction, taking inspiration from art historical traditions of 19th century sublime landscape painting and pop culture apocalyptic film.

All the works in «Localized Histories,» including pieces by Leonardo Drew, Tony Feher, Thomas Hirschhorn, Christian Marclay, Isa Genzken and Trenton Doyle Hancock, emerge from the tradition of found - object assemblage — that is, taking objects or materials from life's landscape and combining and reusing them in unexpected and insightful ways.

In a series of elongated panels, from panoramas of Stradbroke Island and Moreton Bay to studies of South Gorge and Main Beach in atmospheric afternoon light and groups of paperbarks at Stradbroke's Brown Lake, Taylor continues his conversation with the tradition of Australian landscape painting.

Thus she harks back on the one hand to the Nordic tradition of landscape painting in the 19th and 20th centuries (Dick Bengtsson, Carl Fredrik Hill, Ernst Josephson, among others), while on the other hand she takes interiors from forensic investigations as her basis and thus allows unvarnished reality to enter her paintings in the form of commonplace rooms.

Pollock's impression of vast herds thundering over the western plains electrifies Mural, separating it from a European tradition of landscape painting.

A painter in the shen shui tradition of pen and ink landscape painting, the intent is to capture an awareness of inner reality and wholeness, as though the painting flows directly from the artist's mind, through the brush, onto the paper.

An introductory text reflects on how these artists both inherit and reject the traditions of their adopted genres, and three essays provide close readings of a key portrait (Henri de Toulouse Lautrec's «La Goulue at the Moulin Rouge»), still - life (Paul Cézanne's «Still Life with Ginger Jar,» «Sugar Bowl» and «Oranges»), and landscape (Van Gogh's «The Olive Trees») from the dawn of modernism, and expand to consider subsequent works.

The ancients built a landscape full of wisdom and tradition, which have been passed down from generation to generation — treasures left to our descendants.

Rejecting tradition, they favored bold, abstracted forms that broke free from the illusion of depth, creating simplified and stylized landscapes that expressed their personal, subjective encounter with nature and response to the region, rather than trying to imitate the exact visual appearance of a location.

Rejecting the traditions of the past, many of these self - described «Modernists» took their inspiration from the dramatic landscape of New Mexico.

Co-produced by Reno's Nevada Museum of Art and New York City's Art Production Fund, Ugo Rondinone's «Seven Magic Mountains» carries on the tradition of monumental works placed in the landscape, made from natural materials.

Her large - scale, bold and colourful abstract works could not seem further from the pale, stormy and subtle paintings by Turner, who was working within the landscape painting tradition almost a century earlier, but the two artists share a connection in their attraction to landscape and nature.

Accompanying her three images from Breakfasts is piece from her ongoing Landscape Sublime series, which deconstructs landscape and environmental cliché through table - top still lives that give a nod to the traditions of Russian constructivism.

«American Landscapes: Treasures from the Parrish Art Museum,» features landscape paintings that trace the «evolution of American art from its roots in an emerging national landscape tradition to the liberating influences of European modernism» — the progression from the 19th - century Hudson River School to the present.

Each come from distinct backgrounds and tradition; the four artists will examine the vast and rich historical, natural, hypothetical, and cultural landscapes that have shaped them as artists.

From holiday - themed plastic tablecloths to dried paint shreds and found objects, Hoffman takes inspiration from Chinese landscape and Hudson River School painting, as well as the Philippine weaving and Jewish folk traditions of her ancestFrom holiday - themed plastic tablecloths to dried paint shreds and found objects, Hoffman takes inspiration from Chinese landscape and Hudson River School painting, as well as the Philippine weaving and Jewish folk traditions of her ancestfrom Chinese landscape and Hudson River School painting, as well as the Philippine weaving and Jewish folk traditions of her ancestors.

Receiving artistic encouragement from Helen Henderson Chain, herself a pupil of George Inness, Adams shied away from the grandiose style employed by his contemporaries, preferring to accentuate the emotive in his landscapes and ushering in a long tradition of modernist landscape painting in the Rocky Mountain region.

The exhibition presented a diverse landscape of masterpieces from the museum's collection that incorporate poetic inscriptions in their composition or have direct relationships to America's rich poetic traditions.

The concerns and questions that arise from the tradition of landscape painting and landscape design, starting with the gardens of the Baroque to the current public green spaces, are the triggers for the creation of these works.

The work formally draws from the historical references of the landscape painting tradition and its accepted sublime beauty, but it is further interested in contemporary societies underlying ecological and political conflicts that uniquely frame the memory of the current landscape.

The options include still life, landscape, figurative and abstraction pulling from traditions that include Abstract Expressionism, Realism, contemporary abstraction, contemporary Impressionism and more.

These had been not particularly realistic, having been painted mostly in the studio, partly from imagination, and often still using the semi-aerial view from above typical of earlier Netherlandish landscape painting in the «world landscape» tradition of Joachim Patinir, Herri met de Bles and the early Pieter Bruegel the Elder.

This wide - ranging collection of objects dates from the colonial era to the late 1920s and encompasses the major genres of American art — from the founding tradition of portraiture and the first «national» style of landscape painting to a diversity of still life and figure painting.

Richard Long, who imported that tradition to Britain, is another mentor; like them, he wants to get away from two - dimensional representation of landscape in a frame, and give you the thing itself.

Painting from life in the tradition of Winslow Homer, Edward Hopper and David Hockney, the artist captures fleeting moments in the form of landscape, interiors and figuration to speak to the subjectivity of memory and, ultimately, to extract the ethereal from the ordinary.

The second section of the exhibition, «To Learn is To Create,» showcases earlier works made between 1945 and 1954, a period in which Zao tapped diverse visual traditions and methods, ranging from European painters such as Paul Cézanne, Marc Chagall, and Paul Klee, to ancient Chinese bronze inscriptions, rubbings from Han - dynasty tomb decorations, and Tang - and Song - dynasty landscape paintings.

The occasional shifts in orientation from vertical to horizontal, the strong contrasts, and the shades of blue and green allude to the natural world and the tradition of landscape in American Modernist painting.

Derived from the plein air painting traditions of the Barbizon school of landscape painting, Impressionism in France encompassed many famous painters and many individual styles, and its paintings ranged across all genres, from landscape and still life to portraiture and genre scenes.

Art in the Open re-frames the plein air tradition in a contemporary context, encouraging both artists and audiences to draw inspiration from the city's natural and urban landscapes.

Stemming in part from the Rythm Mastr comic strip project first developed for the 2000 Carnegie International exhibition, the monumental paintings in this new body of work portray figures in the urban landscape of the South Side of Chicago, inspired by the tradition of old - master paintings, especially the townscapes of Canaletto.

«Julie Heffernan draws from a rich art historical tradition of still lifes, landscapes, and portraiture to create her lush canvases.

Despite such rough, utterly profane surfaces, it is a spiritual tradition of abstraction that Martin's work draws from: Native American folklore, religious mysticism, anthroposophist symbolism, the landscape painting of North American romanticism — and the great melting pot of New York City itself, where Martin has lived since 1975.