Sentences with phrase «on altarpieces»

In a group of large - scale paintings — exhibited for the first time — businessmen are depicted as Orthodox icons on altarpieces.

Not exact matches

He no longer even thought of commissioning altarpieces for the parish church that included himself on one side panel and his concubine and son on the other....

The proclamation of the church must not focus on itself but must be grounded in Scripture, must point to the passion and, as the rest of the altarpiece demonstrates, to the incarnation and resurrection.

The final shot is the film's altarpiece: a weightless camera glides around the Toller and Mary in their rapturous embrace, as the emphatic sounds of the choir singing «Leaning on the Everlasting Arms» reverberate.

There were accomplished riffs on master paintings (Jean - François Rauzier on da Vinci; Robert Wilson on Dürer, photographer Chan - Hyo BAE on Elizabeth I, Masami Teraoka on Renaissance altarpieces), and an ubiquitous shorthand commentary of words, snide, wry, or provocative — «For Sale», «Exit», «Heroes», «Not Yet Titled» — that were painted or scribbled, but predominantly drawn, in neon.

Oscillating between two separate works, Thomas's painted homage to Sojourner Truth's 1851 speech of Black female empowerment, «Ain't I a Woman,» and a religious altarpiece, Diptych presents the sexy, Black female body sculpted out of flat planes of primary colors in two dimensions on the left (a gesture reminiscent of the painterly techniques of her idols Jacob Lawrence and Romare Bearden), and in a televised two dimensions on the right.

A photographic montage seen on a wall label illustrates what Piero's altarpiece — or significant portions of it, anyway — might have looked like.

«Early Netherlandish altarpiece paintings were a devotional object, kept closed and opened for display on sacred days.

In Leguillon's rendition, Reinhardt's lecture starts with pyramids, moving to the peaked rooftops of buildings from many cultures, to the pointed tops of medieval altarpieces; the pyramidal form mutates to an X shape repeated in various contexts, ending on windows of a building slated for demolition; the lecture moves on to windows of all kinds.

I try to intensify this optical ambiguity by collapsing the original altarpiece image on itself, multiplying its perspectives, disrupting the conclusive visual array of the original painting and replacing it with one that is still unfolding.

At Apollo, we also like to celebrate focused exhibitions that enlighten us with the exceptional intelligence of their curation on a smaller scale: «Piero della Francesca in America» at the Frick Collection brought together most of the panels of the Sant» Agostino altarpiece, while the Ashmolean Museum's «Francis Bacon / Henry Moore: Flesh and Bone» tuned into a conversation between two artists that few had previously heard with such clarity.

Two sixteenth - century altarpieces from a church on the island of Murano were restored by Venetian Heritage with support from BVLGARI.

These include an enormous, irregular, and somewhat trippy acrylic - on - plywood cross from 2004 and the triptychs he made throughout his career based on the traditional altarpiece format.

Like an altarpiece the picture surface is partitioned in three parts, at the centre a fish in yellow, brown and pink on a light yellow background is surrounded by baskets.

Another gallery presents Titianesque goddesses reclining to the music of young Grecian flautists — he was always competing with the old masters — and 14 inky crucifixions based on Grünewald's Isenheim altarpiece.

For MCASD's ongoing Cerca Series, De Luca's long - term project Stations (2006 - 2007) will be on view for the first time, together with a site - specific altarpiece triptych made for this exhibition, which responds to the changing light conditions experienced on the I - 5 South during her drive from Los Angeles to San Diego, created for Fayman Gallery at 1001 Kettner.

At present, Saltz plans to make 100 illustrations and 33 polyptych altarpieces for Dante's Prologue and each of the 99 Cantos, the altarpieces based on the most successful of the illustrations.

When T03980 was shown at the Orchard Gallery in Londonderry in 1983, it occupied a low - ceilinged side room on its own, which tended to give the painting the intensity of an altarpiece or icon.

Admirable examples of woodcuts and mezzotints, for example, share Barbara Archer Gallery with a full - scale medieval - style altarpiece (above) and a video of a portrait screen - printed on a sheet of ice (below).

Deeply influenced by the artist's concepts of spiritualities — or belief systems that in spite of their differences share similar constructive ideologies — the works on view are like altarpieces, while the pigment on the floor alludes to ritual burnings in Eastern cultures.

The four - part «Death Hope Life Fear» (1984), big as an altarpiece, bright as a stained - glass window, has an army of them, with Gilbert & George soaring upward on either side like exuberant guardian angels.

Barkley Hendrick's Lawdy Mama embodies the «black is beautiful» mantra by conferring the awe and reverence once accorded Christian altarpieces on the figure of a beautiful woman crowned with a large, halo - like Afro.

Two panels from the altarpiece are among the finest paintings owned by the Morgan Library & Museum, where they have long been on permanent view in Pierpont Morgan's Study.

In Piero della Francesca in America, now on view at The Frick Collection, guest curator Nathan Silver has attempted to recreate the original Sant» Agostino altarpiece, borrowing two additional panels, one from the National Gallery in Washington — an amusing, small picture of St. Apollonia holding a tooth with a pair of pliers — and a full - length panel of Saint Augustine himself, on loan from Museu Nacional de Arte Antiga in Lisbon.

Representing a cherished «altarpiece» of productivity and potential income in the makeshift squatter homes of apartheid - era townships, as well as the labor and repression symbolized by the American - manufactured sewing machine, the performers sew endless bolts of cotton and raw silk into long tails that pile up on the floor surrounding them.

Julian Schnabel, in bright yellow scarf and tinted glasses, was quick to anoint Knoebel's primary - colored paintings on aluminum panels as modern altarpieces.