Sentences with phrase «on erotic paintings»

Besides zeroing - in on erotic paintings and photos, The Art of the Erotic does not forget to pay homage to sculptures as the editors prepared reproductions of pieces by Auguste Rodin and Louise Bourgeois.

Not exact matches

Blessed and Beautiful: Picturing the Saints by Robert Kiely Yale, 288 pages, $ 40 What I discovered,» writes Robert Kiely in this sumptuously illustrated book on Italian Renaissance paintings of the saints, «were images often infused with tenderness, exquisite sentiment, erotic vigor, but....

This second display starts with an ink and pencil drawing Erotic Composition (1967 - 70), by Lebanese artist Huguette Caland which is a study for the abstract, sensual paintings of the body that she created later on in her career.

The exhibition's central themes continue in a display of paintings, sketches and watercolours of erotic subjects by Tracey Emin as well as JMW Turner and Auguste Rodin, whose iconic sculpture The Kiss is on show at Turner Contemporary until 2 September 2012.

The main draw is a veritable retrospective of the drawings, erotic and otherwise, and a smattering of paintings starring the new - in - town, gold - on - gold «Adele Bloch - Bauer I.» Also here: a photo mural of sections of Klimt's most famous painted mural, the «Beethoven Frieze»; a period room; photographs and personal effects, including one of the artist's signature caftans; and piped - in music, all written in Vienna of course, and available for purchase on CD.

The ninety - four paintings on view provide a broad selection of the artist's work, including the pulp - novel romance paintings which garnered Robinson critical recognition in the early 1980s, still lifes featuring over-the-counter pharmaceuticals, recent representations of Lands» End clothing models and online erotic selfies, and many others.

The same year his painting in oil on photo paper was included in a group exhibition called Erotic Art at the Sidney Janis Gallery.

Selected Group Exhibitions 2008 Calvert22, London 2007 An Archeology, 176 Gallery, Camden, London 2006 The Triumph of Painting - Part 6, The Saatchi Gallery, London 2005 Dolore curated by Klarita Pandolfi and Harry Pye, Sartorial Contemporary Art, London 2005 404 Arte Contemporanea, Naples 2004 Mothers curated by Harry Pye, The Ragged School 2004 New Blood, Saatchi Gallery, London 2004 Girl on Girl, Transition Gallery, London 2003 New Displays, Saatchi Gallery, London 2002 It's only words, Ausgang curated by Liz Neal, Studio Voltaire, London 2000 RCA Secret, Royal College of Art, London Reviews Erotic Review, feature, May 2004 Tom Morton, Arena, June 2004 William Packer, Financial Times, 23 March 2004 Waldermar Janusceck, Sunday Times, 21 March 2004 Hephzibah Anderson, «Busy Lizzie», Evening Standard Metro, 19 - 25 March 2004 Jen Ogilvie, «Liz Neal at One in the Other», Time Out, 8 October 2003 unauthored review, «Liz Neal», Kultureflash issue 59, October 2003 Hannah Lack / Cath Clark, «Eyespy», Dazed and Confused, September 2003 Helen Sumpter, «Exhibitions and Exhibitionists», Big Issue, 12 August 2002 Francis Summers, «Kill Them All» Sleaze Nation, June 2002 William Packer, «Posers playing at being painters», Financial Times, 28 April 2001 Mark Wilsher, «Death to the Fascist Insect», What's On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect»on Girl, Transition Gallery, London 2003 New Displays, Saatchi Gallery, London 2002 It's only words, Ausgang curated by Liz Neal, Studio Voltaire, London 2000 RCA Secret, Royal College of Art, London Reviews Erotic Review, feature, May 2004 Tom Morton, Arena, June 2004 William Packer, Financial Times, 23 March 2004 Waldermar Janusceck, Sunday Times, 21 March 2004 Hephzibah Anderson, «Busy Lizzie», Evening Standard Metro, 19 - 25 March 2004 Jen Ogilvie, «Liz Neal at One in the Other», Time Out, 8 October 2003 unauthored review, «Liz Neal», Kultureflash issue 59, October 2003 Hannah Lack / Cath Clark, «Eyespy», Dazed and Confused, September 2003 Helen Sumpter, «Exhibitions and Exhibitionists», Big Issue, 12 August 2002 Francis Summers, «Kill Them All» Sleaze Nation, June 2002 William Packer, «Posers playing at being painters», Financial Times, 28 April 2001 Mark Wilsher, «Death to the Fascist Insect», What's On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect»On in London, 25 April 2001 Sarah Kent, «Death to the Fascist Insect» Time Out, 25 April 2001 Tanis Taylor, «Death to the Fascist Insect» Metro, 9 April 2001 Gemma de Cruz, «Maloney's Magnificent Seven», Art Review, April 2001 Magnus Brooke, «Death to the Fascist Insect».

The exhibition's central themes are continued in a group of sketches and paintings of erotic subjects by Tracey Emin, JMW Turner and Auguste Rodin, whose iconic sculpture The Kiss is on show in the Sunley Gallery at Turner Contemporary.

His formulaic style of genre - painting, typically set in the 1930s, either at the seaside or in dance halls, restaurants and hotels, is highly recognisable for its erotic or suggestive content, and has become known mainly through reproduction on calendars and greeting cards.

As well as the romantically themed paintings for which Vettriano is perhaps best known, the exhibition features examples of his erotic works such as Game On, The Parlour of Temptation, Fetish and Night Geometry.

The choice of works is very deliberate with the exhibition broken down into seven themes: Beauty, Power and Space, which looks at each artist's engagement with the sublime, a theme central to English Romantic art but which survived through the modernist movement and is a key feature of Twombly's paintings; Atmosphere, which considers the ways in which the three artists paint land and sea through a filter of atmospheric conditions; Naught so Sweet as Melancholy, named after a phrase in Robert Burton's Anatomy of Melancholy, where the theme of loss and memorialisation are central concerns; The Seasons which reflects upon the passage of time; Fire and Water where all three artists evince the power of the elements; The Vital Force which brings together works of a sensual or erotic nature; and finally A Floating World where each artist contemplates mortality and external events that impact on their lives.

Hempton proceeded to paint the strangers sitting on the other side of the screen, sometimes engaging in tacit conversations transliterated via message boards, but focusing her efforts on their auto - erotic acts.

Paul McCarthy's The Painter, which on past viewing has struck me as little more than an obscene and shallow comedy, here resonates uncomfortably with the Bacon studio; a forensic remnant of painting as auto - erotic pathology.

But there's also Modern art at TEFAF — Alexej von Jawlensky's colorful 1913 canvasHead of a Woman, painted in a colorful expressionistic style, was on offer for $ 3.4 million at Galerie Thomas, from Munich; Surrealist Paul Delvaux's erotic rendition of female nudes in a dreamlike setting is at Salzburg's Thomas Salis Art & Design; Piet Mondrian's landscape painting of a house surrounded by trees from 1902, before the Dutch modernist discovered his signature style of geometric abstraction, is at Düsseldorf «s Beck & Eggeling; and Impressionist painter Pierre - Auguste Renoir's enchanting 1885 canvas Au Bord de L'eau (At the Water's Edge), which beautifully captures a woman rowing a boat on a rural lake, is priced at $ 12 million at Dickinson, of London and New York.