Sentences with phrase «on classical»

For a contemporary take on classical elegance, team tactile, neutral - toned surfaces with soft, sensual shapes

After looking through your home, I lit my candle, turned on some classical tunes (I like the symphony, reminds me of Williamsburg), and started a pot of soup!

About Blog This is a blog focused on classical vocal music, opera, art song and choral.

About Blog Peter started Sharps & Flatirons in 2014 to supplement the writing on classical music that appears under his name in Boulder Weekly.

Also check out Top Classical Music Youtube Channels list for Top videos on Classical Music.

About Blog Occasional reviews and writings on classical music, travel and other subjects.

About Blog Thoughts on classical music in London, on the web and beyond.

About Blog This is a blog focused on classical vocal music, opera, art song and choral.

On classical tracks, like John Adams» «The Chairman Dances», the balance remains.

On classical tracks, like John Adams» «The Chairman Dances,» the exaggerated lows can sometimes make the lower register strings and percussion sound a bit too boosted and almost amplified.

Highresaudio.com has a musical selection focused on classical, jazz, pop, and rock.

Our website section on classical car insurance details will help you to find out more about this protection.

Billings Symphony Society, Board Member 1996 - 2005, 2016 (President 2002 - 2004) Billings Public Library Foundation, Board Member, 2013 - 2016 (President 2015 - 2016) Yellowstone Art Museum, Board Member 2006 - 2012 Billings Rotary Club 2003 — Present (Board Member 2009 - 2011) Performances on classical guitar, theorbo, mandolin and banjo with the Billings Symphony, Rimrock Opera Company and Yellowstone Chamber Players

Puett is a professor of Chinese history at Harvard University and the book grew out of a course he offered in 2006 on classical Chinese ethics.

This blawg covers Internet law and policy, computer history, the Federal Communications Commission and touches on classical music.

Based on classical economics, this would be expected; as large incumbent players need to protect their markets.

Applying the foregoing to «Climate Science», we have, IMO, an old paradigm based on classical thermodynamics that predicted warming in response to increased CO2.

Since Gosselin draws on the classical physics of d'Alembert, do you think the MSM will pay attention to him now that the bombshell paper by Marcie Rathke of the University of Southern North Dakota has been accepted for publication in Advances in Pure Mathematics.?

More than Bernoulli is at issue because Gosselin draws on the classical physics of d'Alembert, do you think the MSM will pay attention to him now that the bombshell paper by Marcie Rathke of the University of Southern North Dakota has been accepted for publication in Advances in Pure Mathematics.?

Although the thermodynamics governing the interaction between temperature rise and precipitation is not always a simplistic assumption based on the classical «Clausius - Clapeyron» equation.

Still, much of this literature has relied heavily on classical extreme value theory (EVT) or on studying frequency size distributions with a heavy - tailed character.

Let's not forget this very robust refutation of the very idea of climate modelling: > More than Bernoulli is at issue because Gosselin draws on the classical physics of d'Alembert, do you think the MSM will pay attention to him now that the bombshell paper by Marcie Rathke of the University of Southern North Dakota has been accepted for publication in Advances in Pure Mathematics?

The focus is put on the classical modernist art with the collection of Kurt Schwitters, works of German expressionism, and French cubism, the cabinet of abstracts, the graphics and the department of photography and media.

Her theatre is a satirical take on the classical Russian plays and the household traditions.

In 1897, Weir became a member of the Ten American Painters, generally known as The Ten, a group of painters who left the Society of American Artists in late 1897 to protest what they saw as the overemphasis on Classical and Romantic Realism over Impressionism by the Society.

Greeting the viewer at the door, Jon Pylypchuk's sculpture «allright I guess I can't be sincere to you anymore» is simply the sum of its parts: a figure on a pedestal made with tennis rackets and lightbulbs for eyes; Keith Edmier's «Medea» is cast from pink dental stone and rises from the exploded kiln of the late artist Lowell Grant; Sean Landers» casts a beautifully menacing god Pan; Heimo Zobernig «s take on the classical contrapposto is a 3D composition of three sculptures; bulky, elegant and graceful, Georg Herold's «Brown Betelgeuze is a beautifully imagined bronze of the second - brightest star of Orion.

Koons seems to have taken a palmful of blue gazing balls and blown them out into the gallery, landing on classical statues and Midwestern lawn ornaments, which have coalesced in pure white plaster.

Ethridge's take on a figure who has loomed large since he began studying the medium, highlights Mapplethorpe's focus on classical and baroque, intimate and public, and restraint and licentiousness.

In this exhibition, Marilyn Minter takes on the classical theme of the bather and the period of drastic art historical change characterized by the new role of the female nude and «the gaze» represented in works such as Édouard Manet's Olympia (1863) and Gustave Courbet» s L'Origine du Monde (1866).

Past exhibitions recall in - situ artworks of the renaissance with their emphasis on classical form, dynamism, and turgidity.

De Nieves» work often develops its own intricate visual symbolism drawing on both classical Catholic and Mexican vernacular motifs to develop his own mythology.

The sculptures — curiously lightweight, layered human forms — might seem recognisable from last year's Summer Exhibition, where the artist's colourful, translucent take on classical statuary greeted visitors in the Academy's Central Hall.

With the tiny easel in Mini Easel Relief Kelm picks up on a classical artist tool, although the easel in her picture seems to be a gimmick item.

Gathering his works from the 1970s to the present, the show features wry assemblages and wall sculptures that combine natural and discarded elements, riffing on classical architecture, the nature of portraiture and colonization.

While the artist's earlier works focused on classical depictions of the female form, primarily using powerful black women as the subjects, Tête de Femme more boldly conceptualizes female faces from collaged geometric cutouts.

Hovering between figuration and abstraction, Daniels has created a series of oil paintings based on classical arches.

Combining oil painting and textile collage, the colour palette is very much inspired by a 19th century approach, with Fritz Bornstück working like an impressionist in the field, while at the same time turning the works around to pull them in a decidedly more contemporary direction, inflicting contrasting architecture and items on the classical compositions.

This may seem a stretch, but it's indicative of the lengths to which late 20th century artists have gone to distance themselves from literary analysis and its hold on classical art.

Untitled (Self - Portrait) Supermodel, like his whole body of work, takes on classical portraiture but reverses history.

The artist here also reveals his meditation on classical Chinese philosophy, that things are «neither new nor old, neither going nor coming».

His interest in the heritage of art is immense — from the Paleolithic cave paintings of Africa through the ancient Greeks and Romans to the glories of the Italian Renaissance, he calls on his classical birthright for inspiration (including his Madonna's Raphael - like blue robe).

Relying on classical foundations, Kimmelman says he is greatly influenced by the Master's strong elements of composition, drawing, light and shade, earthy colors and textures and incorporates as much of these as into his work as he can achieve.

Blushing Sculptures developed from Biocca's research on classical Hellenic sculptures and depicts these sculptures ashamed of their nudity.

Shown on classical plinths for the exhibitions, these works find gravity in the environment off the pedestal, incorporating themselves into their domestic surroundings.

Panero continues: «Concentrating on the rural hills, fields, streams, and vegetation of upstate New York, [Tom] Goldenberg employs a wide range of perspective, materials, and techniques — charcoal, walnut ink, pastels — that clearly draws on those classical collections.

Although focused on classical drawing and painting, she soon began dabbling in more abstracted works, clearly influenced by the likes of Willem de Kooning, Egon Schiele and Robert Rauschenberg whom she came to know briefly in his later years.

The two short dances that formed the first part of the evening — «Ghost (for Martin),» a sweet and affecting duet between Gleich and Jason Andrew (of the Bushwick spaces Norte Maar and Storefront, who was also the producer of the event), and «Summer in RP,» a full - on classical ballet performed by the six female dancers of Gleich's company — were scant preparation for what was to follow.

They are kind of a joke on those classical works but they looked so great next to them.»

We, too, can't seem to get enough of her fresh take on classical technique, her experimentation with self - portraiture, her inclusion of mystical wildlife, flora, and fauna and her allegorical underpinnings.

Seamlessly blending pop cultural imagery, color theory, and psychology, Yuskavage draws on classical and modern painterly techniques and, in particular, marshals color as a conduit for complex psychological constructs.