Sentences with phrase «of renaissance perspective»

In the late 1960s, when — to paraphrase Storr's characterization — he moved away from the typographic and began muscling space back into painting — that is to say, when he began deploying interpenetrating, black - and - white, linear volumetric forms in a weightless abstract space, often with a disorienting effect — he was attempting to combine Jackson Pollock's denial of gravity with aspects of Renaissance perspective.

«Depth in a pictorial plastic sense is not created by the arrangement of objects one after another toward a vanishing point, in the sense of Renaissance perspective, but on the contrary by the creation of forces in the sense of push and pull.»

Hers is a painting in which the flat pattern of pixelated camouflage and the deep depth of Renaissance perspective fight for space, in which the -LSB-...]

Combining the visual cues of Renaissance perspective with -LSB-...]

Redstone's practice fuses a high modernist exploration of abstraction with an engagement in historic experiments of Renaissance perspective.

In the paintings and drawings he made while in residence at the American Academy in 1970 and 1971, one readily recognizes the spatial dynamics of Guston's entire oeuvre, the latent or overtly stated matrix of vertical and horizontal lines that derive from the structure of Renaissance perspective that was subsequently collapsed by Cubism and flattened by Mondrian.

Not exact matches

Since the Renaissance, Western painting has attempted to create the illusion of space by the technique of perspective.

In a fine essay in Theology Today, Roland M. Frye notes that the Renaissance's great achievements in perspective and mathematical precision created a condition in which it became possible to make literal descriptions of reality.

The naive realistic perspective, which was rejoined to philosophy after the renaissance and embraced by scientists, resulted in the modern period in a revival of the cosmological point of view.

Thus different methods of projection, such as Renaissance perspective, can be introduced to direct our interpretation of two - dimensional images.

While Renaissance perspective is capable of giving us an illusion of three - dimensional depth, other systems of depth - giving are also possible.3

By seventh grade, students learn to draw with perspective, tying into their study of Renaissance art as well as geometry.

Examples of this «trick of the eye» art, or trompe l'oeil as it commonly known, date back to Graeco - Roman times, but it wasn't until the Renaissance, when painters mastered the art of perspective drawing, that the genre flourished.

From Renaissance painters» first use of perspective to artistic algorithms shaping 21st - century works, mathematics and art have a long, rich history

This is a short visual display of how perspective developed from the early Medieval paintings through the key artists in the Renaissance: Giotto, Masaccio, Brunelleschi, Leonardo and then the Dutch artists and then to Cubism.

Historical fiction buffs will also want to look out for Karen Harper's The Queen's Governess, a Tudor drama told from the perspective of Elizabeth I's governess; Ellen Horan's 31 Bond Street, about a 19th - century murder scandal in New York City (the book will be «difficult for any reader to put down,» according to Ron Rash); and Lynn Cullen's The Creation of Eve, about Renaissance female painter Sofonisba Anguissola.

The concept of a point of view, a perspective, an act of framing on account of the viewer is as evident in Camera as it is in the Window sculptures presented in the solo show at Frankfurt's Portikus in 1992 — a traveling exhibition with other stations in various places, among them the Renaissance Society in Chicago — with the evocatively shimmering and metaphorical title «Everyone needs at least one window.»

The camera, as we know it today, evolved out of Renaissance painting experiments in linear - perspective.

Frowned upon by generations of art historians as the last expression of irrationality (as opposed to perfect perspective) the primitive painters played a pivotal role in bridging Medieval styles with the resurgence of classicism characteristic of Renaissance artists and architects.

Borrowing from the renaissance, Vodkin takes traditional imagery of succulent fruit and benevolent mothers and distorts it using a spherical perspective.

Drawing in Tintoretto's Venice will be the first exhibition since 1956 to explore the drawing practice of this major figure of the Venetian Renaissance and will offer an entirely new perspective on Tintoretto's evolution as a draftsman, his individuality as an artist, and his influence on a generation of painters in northern Italy.

She evokes Chinese landscape painting and employs a technique of Renaissance atmospheric perspective, making objects in the distance hazy and undefined.

The latter prompted less by subject matter, but rather the Renaissance artists» examination and demonstration of perspective.

Yet by his own time the dominant line of the tableau — which runs perhaps from the Greeks, as he says, but certainly from Renaissance perspective through the neoclassical tableau to modernist painting as defined by Clement Greenberg and Michael Fried; that is, painting «as a totality seen and understood all at once» — has crossed with his own genealogy.

Many of the exhibited pieces display a relationship with the concept of windows which in the work of the Portuguese artist is amplified, not merely by the Renaissance structure of the frame / window itself — a technique ready to open new abstract perspectives on the concept of space — but in that particular use of materials tied to the construction of a window.

Like Raphael, she used Renaissance - era theories about perspective to arrange groups of women within vast, utopian landscapes.

Inspired by the 15th - century Italian Renaissance artist Piero della Francesca and 20th - century Italian surrealist Giorgio de Chirico, Christ is both exacting in his attention to perspective and geometric forms and illusive in his presentation of scenes that, as he describes them, «are possible but not probable.»

Great strides were made from cave paintings to the revolutionary achievement of perspective, developed during the Renaissance just five hundred years ago.

[1] Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality.

I designed this course, a survey of methodologies from the Renaissance to the present on perspective drawing, for students of architecture: Its focus is infinity as an art form.

Brooklyn - based artist Alison Elizabeth Taylor is well - known for reinvigorating the Renaissance craft of marquetry, and more recently for combining paint and wood inlay to create a new perspective in painting.

The exhibition draws a comparison between representation of space in western Renaissance «perspective,» which depicts a linear system with objects receding in space, and that of traditional Japanese compositions.

Wright uses paint, drawing, gilding and stained glass to shape delicate, suggestive, site - specific installations that simultaneously revel in tradition — recreating the lost arts of fresco and Renaissance perspective — and express the throwaway modern moment.

He was referring to the examination of visual perception in the science of linear perspective developed by Leon Battista Alberti and other Renaissance artists in the 15th century.

Blending 19th century Italian Realism with contemporary photorealism and Renaissance art techniques, Matteo's cinematic perspectives and eerie light effects suggest the presence of previous inhabitants and their former lives.

Italian Renaissance painters and architects including Filippo Brunelleschi, Masaccio, Paolo Uccello, Piero della Francesca and Luca Pacioli studied linear perspective, wrote treatises on it, and incorporated it into their artworks, thus contributing to the mathematics of art.

Deftly creating dynamic illusions of depth and space on a two - dimensional surface, Grotjhan makes reference to various points in the history of painting, from Renaissance linear perspective, to the utopian shapes and visions of early 20th century Russian Constructivism, to the hallucinatory images of 1960s Op Art.

At play in Davis's applications of two - point perspective were the lessons of spatial fictions learned from methods artists had employed in the past — from early Renaissance painters to Duchamp and, more contemporaneously, to the shaped canvases of Frank Stella.

An austere and challenging style of painting, Cubism introduced a compositional system of flat splintered planes as an alternative to Renaissance - inspired linear perspective and rounded volumes.

Recently, a fifteen year perspective of his work was mounted as a joint venture between the Institute of Contemporary Arts in London and the Renaissance Society at the University of Chicago.

Historically speaking, Plimack Mangold's tilting linoleum tiles date back to the exploratory period of Early Renaissance, when rudimentary perspective was in the process of becoming codified.

Ellen Levy's newest set of paintings at two solo shows, in New York and New Jersey, use optical and cognitive brain research to tackle issues artists have been obsessed with since the Renaissance; how to portray depth and perspective by rendering three - dimensional space on a two - dimensional plane.

In his catalogue essay, Hammer curator Moshayedi writes that «with great regularity, a relationship to place is best articulated from the perch of a so - called outsider perspective», decorously justifying his partnership with Walker, a Chicago resident and associate curator at the Renaissance Society.

Using Renaissance techniques in order to expose the perspective of his subjects, he managed to create an illusion of narrowing and expanding geometries.

Renaissance Art Period of Italian art from c. 1400 to 1530 characterized by increased emphasis on realism, the mastery of linear perspective and the rediscovery of classical art.

This film is one of five giving contemporary perspectives on the National Gallery exhibition «Building the Picture: Architecture in Italian Renaissance Painting» (30 April — 21 September 2014).

He was fascinated by perspective and the tricks it plays, familiar with Renaissance masters such as Paolo Uccello and Piero della Francesca, and at the same time, with the perspective experiments of avant - garde photography and film - making.

I quote from DiRosa's guest curator Michael Schwager's exhibition notes on, «Renaissance on Fillmore 1955 - 65,» at length to give some perspective on the diversity of talent, which passed through its doors.

His allusions to African masks, and Renaissance perspective, suggests a world of mythological and pedagogical continuities.»

Typically, they were skilled draughtsmen and academically trained painters, and constructed their paintings according to the traditional Renaissance rules of linear and arial perspective.