«In many ways, Dimitri's sculpture, like his life, straddled dual cultures, still believing in the vitality and worth of post-Cubist art, insisting that this European legacy did not have to be forestalled by the War, as it had been in America, that there was still something to say in
modernist sculptural languages that had their origins in Paris.
Not exact matches
Houseago has long been fascinated with classical and
modernist sculptural techniques and references, and is well known for his ability to synthesize different time periods and cultures into a highly distinctive
sculptural language that is completely his own.
The strategy of the post-modern Memphis studio was to challenge and subvert
Modernist conventions of good taste, with a visual
language dominated by flamboyant pattern, bold colour, graphic
sculptural form and, frequently, humour.
From his early Cubist and Surrealist assemblages to later ceramic and cut sheet - metal works, this major exhibition from the quintessential
Modernist master is bound to elevate this «painter's» brilliant and unique
sculptural language.
Peters»
sculptural language draws from diverse iconographic influences which include Assyrian antiquities, Greco - Roman tragedy masks, Egyptian funerary figures and Cypriotic portraits, as well as the work of Elie Nadelman, early American folk art, Constantin Brâncusi, and early
modernist figuration.