Sentences with phrase «of classical landscape»

Cornaro uses the medium of classical landscape painting as a metaphor for the networks of power and politics that subtly shape our world.

Ryden's fascination with this subject matter issues from his interest and concern of ecological matters as well as the depiction of trees as the central image of a classical landscape.

His biggest contribution to experimental Chinese contemporary art, however, is his combination of classical landscape painting and body art.

Not exact matches

There is evidence that Hartshorne's critique of classical theism and his vigorous defense of dipolar theism irrevocably changed the landscape of philosophical theology.

With classical WIMPs in a bind, theorists have started expanding their descriptions of the particle, creating a sprawling landscape of WIMP - like alternatives.

Conrad Hal Waddington coined a classical metaphor for the process of cell differentiation during development: An epigenetic landscape characterized by valleys of different levels, and hills to separate them.

The Royal Pita Maha offers 24 traditional Balinese Villas that are nicely landscaped in the style of a classical Balinese village giving an atmosphere of classical Balinese village.

Often regarded as the land of pleasant surprises, Taiwan is a home to magnificent mountain landscapes, white sandy beaches, mega shopping markets, breathtaking natural sights, classical Chinese architectural wonders and mouth - watering food.

Canadian artist Mike Efford creates incredible landscape artworks that «conjure up the unseen spirit of the land», and he does so by using the latest animation software while listening to classical music.

As Richter explained, «landscapes... show my yearning... But though these pictures are motivated by the dream of classical Order and a pristine world — by nostalgia, in other words — the anachronism in them takes on a subversive and contemporary quality» (Gerhard Richter, «Notes 1981», The Daily Practice of Painting, London, 1995, p. 98).

Among contemporary American photographers, Opie is exceptionally attuned to the histories of representation, and Portraits and Landscapes vigorously embodies the artist's conversation with classical European portraiture as well as the American Pictorialist idiom within landscape photography championed by Alfred Stieglitz in the early 1900s.

The textile's image reflects the «ongoing interest in classical mythology and the stories, magic, and colour of the Trinidadian landscape he inhabits.»

Throughout the paintings, the women are found in various Classical poses and setting that are abstracted version of Arcadian landscapes and mythological environments.

Her work stems from her long study of art history and the classical genres of portraiture, landscape, and still like.

Truth in today's surreal landscape By Ashley Jonas Photo: «Silver Lake Operations # 1» by Edward Burtynsky at DAI The third and final installment of the Dayton Art Institute's Year of the Classical Elements explores the theme of the sublime in contemporary landscape photography with Ravaged Sublime: Landscape Photography in the 21st Century, which opened -LSB-...]

In a statement, Thomas's newest dealer described her rhinestone - embellished works thus: «Drawing from a long study of art history and the classical genres of portraiture, landscape and still life, Thomas» political and pop - culturally infused imagery explores constructed notions of identity and the self.

His elegant paintings present a modern, quintessentially American take on the classical themes of portraiture, landscape, figure studies, marine scenes and flowers.

Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities.

In classical paintings, the female body has often been depicted as part of a landscape, or perhaps more flatteringly, as the muse for a man to create art.

With classical skill — and through transparency, depth and texture — she captures the minute details of everyday objects in her dramatic still lifes and luscious landscapes.

Her work stems from her long study of art history and the classical genres of portraiture, landscape, and still life.

Transplanted from Dumbo to Chelsea for the summer, 247365 presents a show that abandons abstraction and, counterintuitively, explores the reemergence of classical themes — landscape, still life, and portraiture — in painting.

Each of these installations is loosely based on a classical landscape painting by the 17th - century artist Nicolas Poussin (1594 — 1665) created as three - dimensional interpretations using sets of pedestals and standing walls in varying dimensions to display objects in meticulous arrangements.

Thomas's work grows from a long study of art history, drawing inspiration from the classical genres of portraiture, landscape, and still life, as well as from contemporary popular culture, the imagery of which she uses to explore issues of identity and race, as well as beauty and the self.

Ray's paintings of exteriors and interiors of houses / studios, natural landscapes, and classical buildings, are all meticulously rendered on minute canvases.

In terms of content, these painters are all over the board, ranging from more classical subjects like landscapes and portraiture to «pure» abstraction without any clear real - world referent.

The third and final installment of the Dayton Art Institute's Year of the Classical Elements explores the theme of the sublime in contemporary landscape photography with Ravaged Sublime: Landscape Photography in the 21st Century, which opened Oct. 15 and runs through Jan. 8, 2017.

Trained in East Germany in the classical art of realist painting, Richter's images have the quiet stillness of European masterworks, taking in genres such as the still life, landscape and portraiture, but of contemporary subjects that are often rendered like a slightly out of focus photograph.

While these elements reflect the components of a seemingly classical composition, Carreño portrays the scene within a verdant landscape that evokes an imagined tropical garden inspired by the artist's native Cuba.

As the artist explained, «if my Abstract paintings show my reality, then the landscapes and still - lives show my yearning... though these pictures are motivated by the dream of classical order and a pristine world - by nostalgia in other words — the anachronism in them takes on a subversive and contemporary quality» (G. Richter, quoted in A. Zweite (ed.)

As the artist explained, «my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestions of lost Paradises, but above all «untruthful» (even if I did not always find a way of showing it); and by untruthful I mean glorifying the way we look at Nature — Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless; the total antithesis of ourselves, absolutely inhuman» (G. Richter, quoted in D. Elgar, Gerhard Richter: Landscapes, Hanover 200landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestions of lost Paradises, but above all «untruthful» (even if I did not always find a way of showing it); and by untruthful I mean glorifying the way we look at Nature — Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless; the total antithesis of ourselves, absolutely inhuman» (G. Richter, quoted in D. Elgar, Gerhard Richter: Landscapes, Hanover 200Landscapes, Hanover 2002, p. 30).

The imagery in this new tapestry reflects Ofili's ongoing interest in classical mythology and contemporary «demigods», together with the stories, magic and colour of the Trinidadian landscape he inhabits.

Wesselmann became one of the leading American Pop artists of the 1960s, rejecting abstract expressionism in favor of the classical representations of the nude, still life, and landscape.

Rauschenberg's use of juxtapositioning various things out of a context, creating a whole new environment and context, always appealed to me more so than making a painting about something; about a landscape, portrait, still life, or historical or classical event and so forth; biblical thing.

Her oeuvre stems from her long study of art history and the classical genres of portraiture, landscape, and still life.

Monkman reinstates these lost dandies into his landscapes, where they act as observers of reinterpreted classical Western allegories and imagined scenes from North American colonial history.

The works are polished but purposefully obscured and draw upon the classical genre of landscape painting.

His primary work is in figurative art; portraiture, classical studies of nudes and landscape painting, although commissioned work has included large scale abstracts.

Dunne notes that Miller, «a professional mathemetician... very quickly... came to look on [painting] as a distinct language in itself, a language that is coherent, self - consistent, formally rich and infinitely flexible, and he applied his mind to its problems... As with Corot, he looks not to classical narratives but to the immediate fact of the landscape.

West Gallery: Su Schnee An exhibition of recent large - scale, mixed - media works on paper by Montreal artist Su Schnee will open at Mercer Union on Tuesday, January 6 at 8:00 p.m. Su Schnee's striking and evocative imagery falls within the parameters of two classical themes: landscape and portrait.

The exhibition shares a naturalistic palette, and a repertoire of motifs is rotated against landscape backdrops like stage props: classical sculptures, nudes winding drapery around their stout buttocks, animal skulls and minotaurs.

Yet, it is where Cheung's «subversion of classical Chinese landscape painting» takes place, that this work comes into its own for the viewer.

Yang Yongliang's (b. 1980, Shanghai) monumental works from the new series «From the New World» (2014) are characterised by the artist's unique digital re-interpretation of classical Chinese landscape painting.

Arless Day, whose collages of architecture, landscapes and interiors look almost familiar and oddly mysterious, transcends their subject matter into what one critic proclaimed «a classical universality.»

In recent years, Urs Fischer has been exploring the genres of classical art history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life in cast sculptures and assemblages, paintings, digital montages, spatial installations, mutating or kinetic objects, and texts.

There were stirring landscapes, mesmerizing scenes of classical inspiration, large and captivating religious paintings, and a particularly stinging pictorial satire — the Fortuna, now in the J. Paul Getty Museum, Los Angeles ---- that caused Rosa real problems with the papacy.

As he did in Cave of Forgotten Dreams (2010), here Herzog has paired a set of romantic landscapes with a contemporary classical score by Reijseger.

The simple, classical and almost generic subjects (the still life, the landscape, the nude) coupled with the artist's distinctive style (inexpressive, reductive, devoid of anecdote) gives rise to images of great visual immediacy and a profound, almost unsettling, stillness.

Opie shot to fame in the 1990s with her classical portraits of lesbian, gay and transgender figures, as well as her beautiful landscapes.

The more traditional style has been maintained by artists like the Armagh - born Cecil Maguire (b. 1930) and Martin Gale (b. 1949), while the classical style of landscape painting was exemplified by the Waterford and Florentine artist Niccolo D'Ardia Caracciolo (1941 - 1989), and later by Martin Mooney (b. 1960), as well as the Impressionists Norman Teeling (b. 1944) and John Morris (b. 1958), and the Realist / pre-Impressionist Paul Kelly (b. 1968) and Henry McGrane (b. 1969).