Sentences with phrase «of this triptych painting»

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Toward the end of his life, Paul Gauguin painted a huge triptych pulling together all his styles of art.

There he photographed a young Eritrean man, Abdullah; one of a number of artists who had decorated the makeshift sanctuary with paintings of icons and sacred triptychs.

This painting is part of a triptych, each presenting an image of the troubles in Northern Ireland.

Originally created as a gouache painting in various shades of gray, our Aloe Triptych takes center stage on a gallery wall.

John Seed writes about a new triptych by painter Kyle Staver on view as part of the exhibition Kyle Staver: A Survey of Paintings and Prints on view at the Pennsylvania College of Art & Design through January 20, 2012.

Many of Herrera's paintings are either diptychs or triptychs.

Riopelle's painting Mitchikanabikong (1975), loaned by the Centre Georges - Pompidou, Musée national d'art moderne, one of the world's foremost collections, is a harbinger of the Icebergs series, a triptych that reflects an identity process in which Riopelle signs each component with linear lines that evoke certain enigmatic profiles of the owl, his animal fetish, found both in his sculpture and works on paper.

As Christie's aims for another record - breaking season, the auction house announced today that a rare Francis Bacon triptych painting of his friend and colleague Lucian Freud will be offered for sale in New York during its November 12th Post War and Contemporary Art Evening Sale.

On view here are a series of twisting glass brick sculptures and her largest painting to date, a breathtaking cloud - like triptych that measures more than 25 feet wide and conveys her interest in science, poetry, and metaphysical realities.

In the monumental 1965 triptych Green Separate by Robert Dash (1931 — 2013), who painted for decades at his home in Sagaponack, the woody earthiness of tree trunks and roots dominate a sparse landscape.

The scope of Michael Meads» work is large, and wandering from room to room in «Bent Not Broken» at the Ogden Museum of Southern Art, his range of mediums and forms is awe - inspiring: acrylic paintings, charcoal drawings, papier - mâché masks, screen - printed images overlaid on gessoed wood panels, vivid sculptural triptychs, a small bound book of collages.

The triptych, 20 paintings and 19 drawings, will be displayed at Noordbrabants Museum in the Netherlands as part of the «Hieronymus Bosch: Visions of a Genius» exhibition from February 13th to May 8th 2016.

A rare early triptych, Forest Fire Painting 71 (triptych) from the mid-1980's by Joe Goode is prominently featured in this year's booth, alongside selections from Goode's newest series of works.

Highlights of the North Carolina collection include George Bireline's abstract painting Matisse Window (1964), Maud Gatewood's expressively painted landscape Jungle Camp (2000), Bob Trotman's figurative sculpture Girl (2002), Beverly McIver's triptych self - portrait Reminiscing (2005), Anne Lemanski's portrait of a gorilla Senkwekwe (2009), and Damian Stamer's abstracted landscape South Lowell 18 (2014).

Outstanding works include Frank Stella's painting Raqqa II (1970), Anselm Kiefer's Untitled (1980 — 86) triptych, Gerhard Richter's abstract painting Station (577 - 2)(1985), Elizabeth Murray's Pigeon (1991), and Jaume Plensa's sculpture Doors of Jerusalem I, II, & III (2006).

In your ambitious triptych I Still Face You, for example, you make references to California Pop Art, Piero della Francesca, hard - edge painting — different kinds of styles that refer to different cultural perceptions.

Tuesday - Saturday, 10 am - 6 pm Eye of the Beholder, an exhibition of works on paper and small paintings by Paul Thek includes a pencil triptych executed in 1970 while he was living and working in Amsterdam.

Ed Ruscha was commissioned to create two large - scale paintings that flank his A Particular Kind of Heaven, 1983, which is in the museum's collection, to form a spectacular, monumental triptych.

Outstanding works in the contemporary collection include Frank Stella's monumental geometric painting Raqqa II (1970), Ellsworth Kelly's minimalist painting Blue Panel (1980), Anselm Kiefer's Untitled (1980 — 86) triptych, Gerhard Richter's abstract painting Station (577 - 2)(1985), Elizabeth Murray's three - dimensional painting Pigeon (1991), Guillermo Kuitca's evocative painting People on Fire (1993), Sean Scully's luminous painting Wall of Light Peru (2000), Jaume Plensa's illuminated sculpture Doors of Jerusalem I, II, & III (2006), Beth Lipman's monumental glass sculpture Bride (2010), Mickalene Thomas's powerful painting Three Graces: Les Trois Femmes Noires (2011), Kehinde Wiley's provocative portrait Judith and Holofernes (2012), and Yinka Shonibare's dynamic outdoor sculpture Wind Sculpture II (2013).

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

Francis Bacon artwork on display includes «Painted Screen» (c. 1929), «Three Studies for Figures at the Base of a Crucifixion» (c. 1944), and «Triptych — August 1972» (pictured above).

Rauschenberg rejected the «logical conclusion» of painting figured by the tricolor monochrome triptych as untenable, in part because the primary colors at which it arrived could not be considered any more «basic» than any other industrially produced commodity.

A British painter whose harrowing, anguished paintings and infamously licentious personal life have provided endless fodder for movie - makers, scholars, and artists alike, Francis Bacon has achieved the stature of a contemporary - art legend — all the more so now that his triptych portrait of his friend Lucian Freud made headlines when it sold for $ 142.4 million at Christie's, making it the priciest artwork to ever go under the hammer.

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....

The painting stood over six feet high and was originally part of a triptych which Bacon then split into separate works.

Following his debut exhibition at the gallery earlier this year featuring small - scale paintings of his studio, this exhibition will introduce six new oils of the artist's studio that range in size from single panel paintings 5x4 feet to a nearly life - size triptych 7x12 feet.

The Hirst works chosen for inclusion are: the key «Mental Escapology» work «The History of Pain» (1999); a triptych of new paintings «Nothing Matters / The Empty Chair» (2008) and «Self Portrait Mexico» (2007 — 2008); the early print piece «With Dead Head» (1991); and the spin painting «Beautiful Quetzalcoatl Dysphoria Painting»painting «Beautiful Quetzalcoatl Dysphoria Painting»Painting» (2007).

The words «goddamn dyke» incised into the skin - like latex of the triptych interject a violated bodily presence into the work that challenges both the heteronormativity of rural America and abstract painting.

The installation combines a triptych of oil paint, latex rubber, and linoleum with a metal gutter, a water trough, and dried leaves attached to or placed in front of the painting.

At the same time, they also engage the history of painting: double and triple canvases, also known as diptychs and triptychs, have a long history within Western painting.

The exquisite works in Hiroshi Senju's series «Cliffs,» 2012 — eleven mixed - media paintings, one triptych, all on mulberry paper mounted on board — appear to illustrate Lao - tzu's idea of Tao as a sort of universal flow or elemental flux informing all things.

Continuing to employ a specifically corporeal scale, Byrne arranges a suit of small oil paintings between a large - scale triptych and three diptychs, all drawn on copper or linen.

While the paintings still hew to the cadre of influences that Martinez is often mentioned alongside — Picasso, Willem de Kooning, Philip Guston — they have more or less abandoned the figurative elements of epic earlier work, like «The Feast,» a dense triptych from 2010.

The triptych, Negative Value (1982), named after stars which are nearly impossible to tell apart, explores ideas of poison and corruption through the alchemy of painting.

Three Studies for a Portrait of George Dyer is one of only five triptychs that Bacon painted of Dyer in this intimate scale.

The striking painting was originally the left panel of a triptych and stands at over six feet high.

Impressively, Beckmann was able to make the utmost use of this radical (and late) relocation and was able to bring about significant transformations in his painting — producing among other works his triptych masterpiece «The Argonauts» — while also teaching at the art schools of St Louis, Missouri, and at the Brooklyn Museum in New York, where he also found time to mount a retrospective of prints and drawings.

[citation needed] In June that year, he exhibited alongside the work of Francis Bacon (Triptychs) at the Gagosian Gallery, Britannia Street, London, an exhibition that included the vitrine, A Thousand Years (1990), and four triptychs: paintings, medicine cabinets and a new formaldehyde work entitled The Tranquility of Solitude (For George Dyer), influenced Triptychs) at the Gagosian Gallery, Britannia Street, London, an exhibition that included the vitrine, A Thousand Years (1990), and four triptychs: paintings, medicine cabinets and a new formaldehyde work entitled The Tranquility of Solitude (For George Dyer), influenced triptychs: paintings, medicine cabinets and a new formaldehyde work entitled The Tranquility of Solitude (For George Dyer), influenced by Bacon.

The show opens with a room of Gonzales's crowd paintings, including the impressive large - scale triptych: Cheering Crowd, 2007.

The convulsive beauty of this work represents the flowering of Bacon's infatuation with his muse, and it is only one of five triptychs of Dyer that the artist painted in this intimate scale.

Triptych: Flowery 1 is an original, large one - of - a-kind floral painting signed by artist Peter Nottrott.

MUSIC MEETS ART Rock band Everything Everything have created a special musical track inspired by Francis Bacon's Triptych - August 1972, which was previously one of three Bacon artworks included in Tate Britain's chronological display «BP Walk through British Art» (please note the painting is no longer on display at Tate Britian *).

Davenport, who is driven by an enduring fascination with the materiality and process of painting and printmaking, has made a series of monumental triptychs, his largest prints to date, inspired by the colour compositions of historical paintings by Hans Holbein, Gustav Klimt, and Vincent van Gogh.

In the early 2000s, Twombly painted a new version of that panel to recreate the triptych, then owned by the French collector François Pinault.

His breakthrough came due to his famous triptych painting Three Studies for Figure at the Base of the Crucifix.

From the distant view of the mezzanine of the gallery, Ali Banisadr's triptych «Ran» (2014) gains a depth of field that allows the viewer to get a handle on the wild whirring, spinning choreography of the oil painting.

The artist was later asked by the M. H. de Young Memorial Museum to create two large - scale paintings that flank his A Particular Kind of Heaven (1983), which is in the museum's collection, to form a spectacular, monumental triptych.

Many of the larger - than - life paintings — frequently diptychs or triptychs — are hung low to the ground, allowing the viewer to see his or her entire reflections like a mirror through the barrage of medical data and begging the questions: do you like the reflection you see?

But in a new, grand triptych, events take on a cinematic scope and scale, with a crowd of extras cast from Dutch genre painting and zombie flicks.

This exhibition celebrated Bacon's great triptych paintings, beginning with one of his most famous paintings of all time, the iconic 1944 work «Three Studies for Figures at the Base of a Crucifixion», and culminating with this present work, which had been painted just one year earlier.