Sentences with phrase «modern kind of painting»

Warhol, he adds, really «kicked the door open for an intelligent, forward - looking, modern kind of painting.»

Not exact matches

Older paintings make him look long and lean, but modern Pugs are kind of square and squat, with a tightly curled tail and big eyes.

Feely quotes Olitski as saying, ab out works of this kind, «I was trying to extend Rembrandt's use of flowing paint, his chiaroscuro, and just as much, his impasto into modern painting.»

In my persistence to use raw materials historically used in academic painting, to contrast modern paint with pigment — a kind of fanatical review on contemporary painting transpires, setting a stage for the current Miscommunication Paintings.

At the press opening, in the conservation studio that has a glorious floor to ceiling wall of glass on the Hudson (light, light, light), a kind and concerned professional explained: «We have put glass on many paintings for the first few months, because, having learned a lesson from the Tate Modern, we are expecting much larger and much different crowds from the old location, people who do not pay attention to their backpacks or care much about the art.»

Take an art break between April 25 and May 5 and finally learn what kind of artwork this modern master created in between the more famous paintings, when he was driving across the country in the 1930s or taking a break from teaching other famous artists in the 1950s.

«I don't feel mine is the most modern contemporary, beyond - the - pale, gone kind of painting,» Kline told Frank O'Hara as late as 1959, «But then, I don't have that kind of fuck - the - past attitude.»

As Romaine's work evolved, the female subjects of her paintings became sharply modern, in possession of a kind of feminine strength that couldn't be captured by other male artists working at that time.

Speaking at the second annual John Wilmerding Symposium on American Art, held on March 23, 2018, at the National Gallery of Art, Charles Brock discusses how this unsettling depiction of a violent interracial boxing match was acquired when there was little American or modern painting of any kind at the Gallery and established an important precedent for later efforts to better represent the diverse achievements of American modernism.

«I think for many people this kind of representation is something which belongs in the past,» said John Elderfield, the chief curator emeritus of painting and sculpture at the Museum of Modern Art in New York and a Yorkshireman himself.

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

Sol LeWitt, Cubic - Modular Wall Structure, Black, 1966 Painted wood, 43 1/2 x 43 1/2 x 9 3/8 inches Collection of Museum of Modern Art, NY Sol Lewitt, Paragraphs on Conceptual Art (1967) «I will refer to the kind of art in which I am involved as conceptual art.

2003 «Isla,» Galeria Botello, Hato Rey, Puerto Rico 2001 «Lecciones,» Galeria Botello, Hato Rey, Puerto Rico 2000 Nancy Hoffman Gallery, New York «Small Format,» Project Space, Nancy Hoffman Gallery, New York 1998 Galeria Botella, Hato Rey, Puerto Rico 1997 Frederic Snitzer Gallery, Coral Gables, Florida 1996 «Survey,» Nassau County Museum of Art, Roslyn Harbor, New York 1995 Nancy Hoffman Gallery, New York 1994 Barbara Okun Gallery Galeria Botella, Puerto Rico Marta Gutierrez Fine Arts, Key Biscayne, Florida Nancy Hoffman Gallery, New York 1992 Nancy Hoffman Gallery, New York 1990 Nancy Hoffman Gallery, New York Mangel Gallery, Philadelphia 1989 Nancy Hoffman Gallery, New York 1988 Nancy Hoffman Gallery, New York Mangel Gallery, Philadelphia 1986 Nancy Hoffman Gallery, New York 1985 Galerie Darthea Speyer, Paris Nancy Hoffman Gallery, New York «Paintings 1981 - 85,» Minneapolis College of Art and Design, Minnesota «Rafael Ferrer,» Beaver College, Glenside, Pennsylvania «Rafael Ferrer,» Neuberger Museum, State University of New York, Purchase, New York 1984 Nancy Hoffman Gallery, New York 1983 Indiana State University El Museo del Barrio, New York University of Southern Florida 1982 Frumkin & Struve, Chicago Nancy Hoffman Gallery, New York Northern Illinois University, De Kalb «Rafael Ferrer: Impassioned Rhythms,» Laguna Gloria Art Museum, Austin, Texas 1981 Okun - Thomas Gallery, St. Louis 1980 Frumkin & Struve Gallery, Chicago Hamilton Gallery of Contemporary Art, New York 1978 Nancy Hoffman Gallery, New York Institute of Contemporary Art, Boston The New Gallery, Cleveland 1977 Albright - Knox Art Gallery, Buffalo Marianne Deson Gallery Fort Worth Art Museum, Texas Galerie Darthea Speyer, Paris Nancy Hoffman Gallery, New York 1976 Central Michigan University, Mount Pleasant The New Gallery, Cleveland 1975 Instituto de Cultura Puertoriquena, San Juan Nancy Hoffman Gallery, New York 1974 Delaware Art Museum, Wilmington «Isla,» The Museum of Modern Art, New York Nancy Hoffman Gallery, New York Phyllis Kind Gallery, Chicago Phoenix Gallery, San Francisco 1973 Contemporary Arts Center, Cincinnati Miami - Dade Community College Art Gallery, Florida 1972 The Museum of Contemporary Art, University of Pennsylvania, Philadelphia University of Rhode Island Fine Arts Center, Kingston Whitney Museum of American Art, New York 1970 Leo Castelli Gallery, New York «Defected Fountain,» Philadelphia Museum of Art, Pennsylvania Galerie Michery, Amsterdam Galerie M.E. Thelen, Cologne, West Germany University of Hartford Art Gallery, Connecticut 1969 Eastern Connecticut State College, Willimantic Galerie M.E. Thelen, Cologne, West Germany «Three Leaf Pieces,» Castelli Gallery, New York 1966 Pan American Union, Washington, D.C. 1964 University of Puerto Rico, Mayaguez

The purpose of the new multi-million pound Tate Modern extension was to «provide new kinds of display space for media such as photography, film, video and digital art», while media such as painting and sculpture would continue to mostly remain in the storeroom.

There are those who say that a lot of modern music doesn't need listeners, any more than the kinds of paintings made now don't need spectators either.

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.

The first of its kind in the U.S., the exhibition will also be Richter's first solo show in a public institution in New York since 40 Years of Painting at The Museum of Modern Art (2002).

[1] When the Gallery opened in 1941, there were only a few American paintings and no contemporary or modern art of any kind on view.

An exclusive chance to see Lowry and the Painting of Modern Life — a major exhibition of landscapes by the much - loved British painter L.S. Lowry — the first of its kind held by a public institution in London since the artist's death.

In discussing the place of painting and sculpture in the culture of our time, I shall refer only to those kinds which, whether abstract or not, have a fresh inventive character, that art which is called «modern» not simply because it is of our century, but because it is the work of artists who take seriously the challenge of new possibilities and wish to introduce into their work perceptions, ideas and experiences which have come about only within our time.

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