Sentences with phrase «most of his earlier paintings»

Most of his early paintings were portraits and literary subjects, but he became known as «Waterloo Jones» after serving in the army during the Napoleonic Wars.

Not exact matches

The document stresses both mothers» and fathers» importance as educators, making clear that when fathers and mothers talk, play, read, paint, investigate numbers and shapes or sing with their children it has a positive effect on children's later development — and that mums» and dads» involvement in reading is the most important determinant of their child's early language and literacy skills.

One of Monet's early paintings first gave rise to the term «Impressionism,» and his later paintings of water lilies remain among his most popular and enduring works.

The early, British - built cars suffered from poor assembly and paint quality, but the Swedish cars are better and the components are robust — even the rustproofing is better than most of its contemporaries.

The most egregious example is the $ 2,995 wanted for the «hand - painted» matte - black, heritage racing stripe — a nod to the Abarth 124 Rally of the early 1970s — that covers the hood and rear decklid.

- W. Somerset Maugham, The Painted Veil William Somerset Maugham (1874 - 1965) was one of the most popular writers of the early 20th century and is said to have been the highest paid author in the 1930s.

Since the protests against Snapchat earlier this year, many artists along Ocean Front Walk have joined the rally against Snap Inc. and have used their art as a way to express how most of the community feels — with paintings, poetry, signs and banners.

While the visuals have been vastly improved (in most, but not all aspects; we'll talk about that later), the gameplay hasn't been improved for 2017 standards, leaving you with an early Xbox 360 title with a different coat of paint.

Robert Rauschenberg kept only one major example of his earliest, most influential body of work, the Combine paintings he made between 1954 and 1961.

As I dug deeper I was struck by the sense of outrage and loss this painting aroused in so many people: The family of Lea Bondi, determined to reclaim the stolen portrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home to Vienna.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast; to his reliefs, sculptures, and assemblages created in a variety of materials; to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits, and a return to still life, this exhibition provides an in - depth look at the work of a unique and significant American artist.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontations.

Among the exhibition's many highlights are bold, groundbreaking paintings by Matisse from his most adventurous years, as well as highlights from nearly every phase of Diebenkorn's oeuvre from the early 1950s to 1980 — including several monumental canvases from his Ocean Park series, a renowned exploration of color, light, and space.

She is no more representative of her generation than De Keyser is of his, but like him she has been a favorite of fellow painters, most notably, in her case, Mary Heilmann, whose gloss of Greenbaum's early work is worth quoting here, for the sake of its descriptive energy (which matches the nondescriptive energy of the paintings) and the way it highlights how Greenbaum's work has changed: «Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s.

Larry Poons (born in 1937), in the early sixties made some of the most memorable and striking Colorfield paintings of the time.

An amazing collection of paintings and other works from the Centre Pompidou, Paris, traces the development of this extraordinary and inventive artist, from his early figurative works to his most modern pieces.

Bringing together more than 90 works from pubic and private collections, the exhibition features paintings and works on paper spanning the early 1930s through the late 70s, from his early depictions of African masks and figurative works to the abstract images for which he is most recognized.

Also Monday, an eerie 1991 painting of a moonlit white canoe with a figure slumped in its hull fetched almost $ 26 - million (U.S.), a new world record for the artist, Peter Doig, 56, who spent most of his early years in Canada.

Most of these are more intimately scaled than the early monumental «Fuck» paintings, 1969 — , for which the artist is perhaps best known, doing away with some of the optic strangeness of those works and replacing it with something similar to, but not quite like, eroticism.

The nine early paintings and six watercolors here, done in a naive expressionist - meets - Social Realist style — especially those of Carlos, her children, lovers, and a swarthy friend named Nadya — are among the most convincing of her career.

The current exhibition includes more than 20 paintings and sculptures the artist made in Dresden during the 1960s and early 1970s, when the political circumstances in the then - German Democratic Republic «kept most contemporary works of art underground», says Gordon VeneKlasen, the director of the gallery who organised the show.

might be the most concise of Frank Stella's well - known early black paintings.

Tate Britain to Stage Hockney Show in 2017 Tate Britain has announced that it will hold the «most extensive» retrospective of David Hockney's work ever seen, covering everything from early 1960s paintings to the work he has produced since returning to California from Yorkshire in 2013.

In the fall of 2010, the Asia Society presented Yoshitomo Nara: Nobody's Fool, the first major New York exhibition of his work, featuring more than one hundred works spanning from his early career in the 1980s to his most recent paintings, drawings, sculptures, ceramics, and large - scale installations.

John Yau offers a tribute to the late painter Michael Mazur, whose early paintings of apes in a zoo were recently exhibited in New York: «This is the kind of challenge that most artists, no matter what the medium, avoid: to confront and stroke difficult subject matter, to be open and sympathetic without trivializing or becoming sentimental.»

Those familiar with Robert Greene's early paintings of figures, architecture, and landscape combined in fairy - taleish scenarios would recognize a shift in the artist's most recent abstract works.

Early in her career, Mitchell was labelled an «Abstract Impressionist,» because her paintings conveyed an «impression» of nature, most specifically landscape.

From the Prefix Photo press release: «She notes that, since the early 1980s, most critical writing about Wall's work has ignored feminist readings of it, aligning it instead with cinematography, the historic avant - garde and a return to history painting.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

An early career painting by Dia Azzawi, recognised as one of Iraq's most influential living artists, is also on show alongside Kadhim Hayder's painting of symbolic white horses titled Fatigued Ten Horses Converse with Nothing (The Martyrs Epic)(1965).

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

Painting with complex diversity has some mileage still to explore given that this type of work is both in its relative infancy and very unfashionable.The general downturn in the complex diversity of abstract work, from the 50's to around the early 60's, is a notable historical shift (anyone with relevant sources / references please let me know), granted that some abstract painters have continued to explore complex diversity in their work; Alan Gouk and Gary Wragg being two of the most notable painters.

Halkin's most recent paintings share with his earliest work a fascination with hieroglyph - like shapes and mottled fields of muted color, though the palette is overall less subdued and the forms less abstract.

The artist generates the subject matter of his art from the material substances with which he works, an approach made most memorable perhaps in Zucker's «cotton ball paintings» of the early 1970s with their narrative images of plantation life in the American south.

Still Life paintings, sculptures, and drawings, produced from 1972 to the early 1980s, cover a wide range of motifs and themes, including the most traditional such as fruit, flowers, and vases.

The Whitney has tried to reinforce its own early recognition of the most famous member of the School of Paris by devoting a room to photographs taken by the American painter Charles Sheeler of the 1923 Whitney Studio Club exhibition, Recent Paintings by Pablo Picasso and Negro Sculpture.

Of particular interest in the exhibition is Childe Hassam's Adam and Eve Walking Out on Montauk in Early Spring (oil on wood panel, 1924), which succinctly reflects the artist's desire to replicate the Greek Classicist ideal translated to painting, and historically is considered one of Hassam's most ambitious landscape workOf particular interest in the exhibition is Childe Hassam's Adam and Eve Walking Out on Montauk in Early Spring (oil on wood panel, 1924), which succinctly reflects the artist's desire to replicate the Greek Classicist ideal translated to painting, and historically is considered one of Hassam's most ambitious landscape workof Hassam's most ambitious landscape works.

One of the most respected figures of Abstract Expressionism, Joan Mitchell (1925 - 1992) came to an early attention with her lyrical abstract paintings.

«Nobody's Fool is the first major New York exhibition of the Japanese artist Yoshitomo Nara (born 1959), and features more than one hundred works ranging from his early career in the 1980s to his most recent paintings, drawings, sculptures, ceramics, and large - scale installations.

Fischl's paintings from that time dealt with issues of early sexuality and voyeurism, while his most recent large - scale canvases focus on the tradition of bull fighting.

In 1990, before the global recession struck, prices for some of his most sought after paintings from the early 1960s rose to almost $ 5 million.

The earliest specimen in the show is a 1968 work «Untitled DSS 120,» of ten stainless steel boxes with warm amber Plexiglas, while the most recent work, «Untitled (Bernstein 90 - 11)» (1990), is a more austere anodized aluminum number lacquered in black autobody paint with clear Plexiglas.

This luminous painting was included in several of Van Gogh's most important early exhibitions.

They are supplemented by two early paintings, several drawings and, most important, 23 sculptures that sum up her various sculptural uses of wood, bronze, marble, resin and stuffed fabric.

This massive, clothbound volume is comprised of paintings made between 1973 and 2013 and includes artwork from nearly every stage in the artist's oeuvre - from his early oil on canvas works to his most recent flag paintings.

The body of work ranges from his early portraits of Los Angeles swimming pools up to drawings and photography of Yorkshire landscapes and most recent paintings.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

One the most lustrous of his Black paintings, Untitled [glossy black painting] is believed to date from the earliest phase of Rauschenberg's involvement with this group of works, but the chronology of his production in the years 1951 to 1953 remains somewhat loosely defined.