Sentences with phrase «modern painting techniques»

The versatile Luce, like many of his contemporaries, experimented with several of the modern painting techniques and schools developing in France throughout his career.

Jaison places his canvas flat on the table and uses a modern painting technique of dripped - on paint texture, which gives his work a gracefully energetic appearance.

Not exact matches

But new work, using modern imaging techniques, is revealing more detail — not only about the original painting, but also about Picasso's.

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Having an idiosyncratic approach to Surrealism, he avoided stylistic distractions of most modern painting, settling on a deadpan, illustrative technique that clearly articulated the content of the work.

The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital manipulation and darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.

Paul Cézanne (1839 — 1906) is universally acclaimed as the father of modern art for his revolutionary use of flattened perspective, carefully structured compositions and his signature technique of painting with patches of color.

Using both traditional techniques such as cloisonné, and many exciting modern methods, we create enamel paintings, sculpture, jewelry, bowls, and boxes.

Between 1930 and 1932 composer Arnold Schoenberg worked on Moses und Aron, one of the first operas to make use of the twelve - tone technique, [76] Pablo Picasso painted in 1937 Guernica, his cubist condemnation of fascism, while in 1939 James Joyce pushed the boundaries of the modern novel further with Finnegans Wake.

He used this technique in his famous painting Forest and Dove (as shown at the Tate Modern).

Pollock was already experimenting with different techniques and the washes and scratches created in the painting suggest he was headed into unchartered territory as a modern artist.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Drawing on his training at the Pennsylvania Academy and in Europe, Eakins composed a majestic painting that wedded modern naturalism to the technique and impact of the old masters.

I admire it because it contains multiple painting styles; (combining geometric boxes (chops), borders and calligraphy;) with landscape techniques that are remarkably similar to modern stain painting.

In his New York City studio, Takashi Murakami discusses his three - decades - long practice in which he blends traditional and modern art techniques to create enormous paintings with a visual power unmatched in contemporary art.

While Tate Britain explores Turner's celebrated late career in which he embarked on radical experimentations with technique, process and material, the V&A delves into the story behind Constable's master paintings — many of which have only received rightful recognition in the modern age.

A highly respected art conservator practicing in Roxbury, Connecticut, Yost's experience restoring fine oil paintings from the eighteenth to twentieth centuries has allowed him to translate the techniques of the masters into contemplative landscapes for modern viewers.

Zavaglia has developed a technique which has been described as «Modern Pointillism,» that allows her to blend colors and establish tonalities that truly resemble the techniques used in classical oil painting.

While the pairing of their techniques represents stylistic extremes — Bresson's classical roots in Renaissance and Baroque painting and Prata's borrowing of multiple modern styles — together they build a language around representations of movement and stillness, reality and incongruity, tragedy and humor.

At first, I juxtaposed traditional elements of miniatures into a new format, then I started painting modern figures using the miniature technique.

She aesthetically merges old Indian technique of painting with a modern twist and gives it her own contemporary interpretation.

You'll explore modern digital painting techniques, how to use a Wacom tablet for a natural feel, building custom Photoshop brushes, and much more in these computer painting lessons.

I chose them because they are, in many ways, the polar opposite of traditional mediums — a way to take very complex, age - old master's techniques like reverse painting and the glazing and layering of oil paints, exploding them onto modern mediums that speak more to current times.

He was as aware of — and as accomplished in — Renaissance tempera techniques as he was of Oriental calligraphy and the pioneering movements in modern painting.

Restless Shadows is comprised of paintings created using modern mediums and techniques.

His work emphasized the emotionally expressive potential of color, modulating the figure - ground relationships in his paintings in a method he referred to as the push and pull, a technique similar to the one that put Jackson Pollock, Hofmann's close friend, on the map of modern art.

Combining modern technology with traditional painting techniques, Tom Goldenberg creates vivid depictions of the natural world.

Using traditional and modern techniques to produce handmade, hand - painted terrestrial world globes with precisely designed maps and elegant stands, their studio workshop is based in Stoke Newington, London, and their globes are purchased by customers from all over the world.

The vehicles for Close's mark - making range from oil paint, airbrush, and finger printing, to paper pulp, colored pencil, and photography — including the Daguerreotype, which, like the artist's jacquard tapestries, revived a centuries - old - tradition, propelling an antiquated technique into the modern era.

In these videos from the Museum of Modern Art's upcoming free online course on Postwar painting, educator and independent conservator Corey D'Augustine demonstrates that, we can, with some degree of stamina and athleticism, approximate Pollock's technique.

Here on BBC Arts we take an in - depth look at the influence of abstract art on modern design with renowned designer Peter Saville; saxophonist Soweto Kinch explores how jazz embraced abstract through its album cover iconography; Alastair Sooke talks technique as he gets inside the world of abstract master Jackson Pollock, finding out just how challenging it is to create one of his famous drip paintings.

Reworked by Tyson, the new painting features a modern harbour scene and consequently combines imagery and techniques from two moments that occurred a century apart.

The movement she has learned from modern dance, has influenced the contemporary techniques and finishing touches for each painting.

The internet explorer (and archiver) continues his examination of the shifting nature of self in the context of modern technology and virtual living, using video works, installations, sculptures, prints, and traditional painting techniques to probe the subjectivity of memory and the collapse between the virtual and «the real».

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

There Tansey continued his examination of the historic art introduced to him by his parents, as well as modern painting and sculpture techniques and artists.

This essay not only christened the Pollock / de Kooning group and put the spotlight on its painting techniques, it also brought its author instant fame as an important interpreter of modern art.

This technique is used in one of his most popular paintings Forest and Dove (Tate Modern).

Together with his group of artist friends, he introduced Western concepts and techniques and was so successful in leading Chinese ink onto the path of revolution to the extent that he was acclaimed as «The Father of Modern Ink Painting».

It is not a coincidence that Language Series 2 is reminiscent of a Monet garden painting for both the Impressionists and Rana use new techniques and aesthetics to create modern life paintings.

2 All these painters have been or can be classified as what Donald Kuspit calls the New Old Masters who, though working in Old Master techniques, are «neither traditional nor avant - garde, but a combination of the two,» carrying on the spirituality of the former and the critical consciousness of the latter.3 Both Cooper and Kuspit read in new wave history painting and New Old Master painting, respectively, a return to humanist and modern existentialist themes absent in most mainstream contemporary art.

At Cooper Union's School of Art, Katz was trained in modern art theories and techniques, later earning a scholarship for study at Maine's Skowhegan School for Painting and Sculpture.

Methodically plotted out and executed using Lawrence's modern color - blocking techniques, the paintings and corresponding narrative captions animate L'Ouverture's command of the Haitian Revolution.

His room paintings, such as the gold filigree work that he made for the Turner Prize in 2009 or the dizzying force lines — a graphic technique used in engineering — visible in the stairwell of Modern 2 in Edinburgh, are amazing feats of painstaking complexity.

These are represented by the weavings of Tawney, a contemporary of painter Agnes Martin; Hollowell, who paints pulsing abstractions inspired by the female form; and Aguiñiga, who uses modern and traditional weaving techniques to create wild biomorphic forms.

Exhibited at the Washington Gallery of Modern Art in 1967, Number 36 belongs to a specific subset of Stripe paintings in which Louis exploits a new technique: allowing paint to drain off the bottom of the canvas, he carefully manipulates the top ends of the stripes using a long daubing stick with cheesecloth wrapped around one end.

, Francis Bacon: Figurabile, exhibition catalogue, Museo Correr, Venice 1993, p. 24 David Sylvester, «Bacon's Course», Modern Painters, vol.6, no. 2, summer 1993, pp. 15,16, reproduced p. 14 (colour) Michael Peppiatt, Francis Bacon: Anatomy of an Enigma, London 1996, pp.108 - 110 Fabrice Hergott, «La Chambre de Verre» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 56 David Sylvester, «Un Parcours» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, pp.14 - 16 Hervé Vanel, «L'imagination technique» in Francis Bacon, exhibition catalogue, Centre Georges Pompidou, Paris 1996, p. 67 Masterpieces of British Art from the Tate Gallery, exhibition catalogue, Metropolitan Museum, Tokyo 1998, pp. 152, 237, reproduced in colour p. 152 Reproduced: Harper's Bazarre, Jan. 1951, p. 52 (colour) John Rothenstein, A Brief History of the Tate Gallery, London 1958, p. 11 John Rothenstein, The Moderns and their World, London 1958, pl.91 (colour) Viewpoint, no. 1, 1962, p. 5 (colour) Ronald Alley, British Painting Since 1945, Tate Gallery, London 1966, p. 12, pl.2 (colour) Aldo Pellegrini, New Tendencies in Art, trans.

• Track record of instructing students about basic sketching and contouring techniques • Well versed in evaluating students» work, charting their progress, grading assignments and guiding them regarding their weaknesses appropriately • Hands - on experience in curriculum development, lesson planning and implementation with aid of modern and effective AV aids and instructional strategies • Expert in instructing students about working in various modes including pastels, oil colors, water colors, fabric paints, charcoal and pencil • Adept at creating and maintaining a highly stimulating, inspiring and multicultural classroom environment • Proven ability to introduce novel forms of art and inculcate the same in the curriculum effectively • Demonstrated ability to enhance creativity among students by encouraging innovation, novelty and originality in their pieces of art • Familiar with various kinds of pixel sheets, sketching paper and art material, fully capable of determining age specific art material and techniques, suitable for assigned level and grades of children • Known for initiating, designing and implementing various art contests at the school to encourage a general appreciation for art among students • Competent at identifying course goals and fulfilling the same in collaboration with students, teachers and parents • Proven skills in lesson planning, curriculum implementation, technique instruction, practice facilitation and assignment communication • Profound knowledge of various advanced level 3D effect art techniques • Strong classroom management, organization and discipline control skills • Profound ability to devise innovative learning and instructional techniques to facilitate effective transfer of skill and knowledge • Proficient in use of computer to aid art work, familiar with various graphic designing and drawing enhancement software

Well versed in modern art techniques including but not limited to drawing, painting and sculpting.

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