His urban and
mythological themed works are made from combinations of humble materials including; wheat - pasted paper, cardboard, newsprint, salvaged street signs, rusted metal, and spray paint that pay homage to his roots as a street artist and to his interest in the city's periphery.
Not exact matches
[5][6][7] While J. M. W. Turner (1775 — 1851), one of the greatest landscape painters of the 19th century, was a member of the Romantic movement, as «a pioneer in the study of light, colour, and atmosphere», he «anticipated the French Impressionists» and therefore modernism «in breaking down conventional formulas of representation; [though] unlike them, he believed that his
works should always express significant historical,
mythological, literary, or other narrative
themes.»
While she leaves behind the folkloric,
mythological, and historical narratives that inspired previous
works, Trace of a Fictional Third continues her interest in
themes of time and motion.
The artist suggested this arrangement that roams freely over his career, including major
works exploring
mythological and historical
themes made in the past few years.
Building on the
mythological themes of the
works on paper, these paintings combine various references and allusions: a towering Adonis appears as the singular subject of a 2017 canvas, while Amazon (2016) and Birth (2018) are both partially inspired by Dumas's recurring muse, her daughter, who is now expecting her first child.
The
works by Nicolas Fontaine in the Götter Glamor exhibition offer very personal interpretations of
mythological themes that incorporate unusual...
His
work, which is shaped by historical,
mythological and spiritual
themes, is always large - scale and uses materials such as straw, ash, clay, lead and dried plants.
The connections are highlighted through the key
themes of Arcadia and the pastoral, Venus and Eros, anxiety and theatricality and
mythological figures that are central to both artists»
work.
Velliquette revisits the vocabulary of symbols and images found in his earlier
works set in
mythological, scenic narratives, exploring
themes of transcendence, transformation and otherness.
Until 1988 he
worked in a figurative manner, but after a stay in Amsterdam, where he was confronted by the uncompromisingly abstract
work of such artists as Barnett Newman and Lucio Fontana, he abandoned the
mythological themes in his art and aimed at greater honesty, clarity and directness.
The recurring
mythological theme of the transformation from one state to another is exemplified in the biomorphic ovoid shapes, sometimes resembling hieroglyphs and amoebae, that appear in
works from that era.
Lalique's
work looked both backward and forward in time: embracing ancient
mythological themes even as it celebrated modern progress.