They exude an enthusiasm for historical precedents and
their pictorial inventions.»
My favorite lines are: Every painting is a tour - de-force of
pictorial invention.
Pictorial invention consists of replicating snapshot likenesses.
It also showcases the work of a younger generation to examine how these modes of
pictorial invention remain of fundamental significance today.
In 1958 a group of artists came together under the name ZERO with the purpose of heralding in a new beginning in art after the horrors of the Second World War and explicitly opposing the psychologically charged
pictorial inventions of Abstract Expressionism.
Throughout his career, Howard Hodgkin has filled his small paintings with a tremendous depth of expression and
pictorial invention — and these seven pictures confirm his continuing mastery of the intimate.
The main interest of the collectors Peter Schaufler and Christiane Schaufler - Münch is not directed toward the medium and its history per se, but leans more toward the fascination that arises from certain motifs,
pictorial inventions, and their formal transformations.
Peter Schjeldahl on «Matisse: The Cut - Outs» at MoMA, in this week's New Yorker: «When Matisse is at his best, the exquisite frictions of his color, his line, and
his pictorial invention — licks of a cat's tongue — overwhelm perception, at which point enjoyment sputters into awe.»
Resisting the Lyrical Abstraction, Field Painting, Minimalist movements of the 1970's, Lasker found himself confronted with the challenge of
pictorial invention.
Sanya Kantarovsky's works across media explore an off - modern matrix of painterly citation and
pictorial invention.
George Condo is a prolific painter whose career spans three decades and is best known for his rich
pictorial inventions, existential humor, and imaginative portraits that incorporate a hybridization of art - historical influences.
The earliest «dithyrambic» pictures were
pictorial inventions of sculptural forms in planar space that lie somewhere between abstract and representational imagery: forms evocative of architecture or figuration, though not always overtly so.
Possessing many technical skills, Taaffe has moved decisively between unique
pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction.
A survey of drawings and paintings by George Condo, the prolific painter best known for his rich
pictorial inventions, existential humor, and imaginative portraits that incorporate a hybridization of art - historical influences.
The Phillips presents a survey of drawings and paintings by George Condo (b. 1957, Concord, New Hampshire), a prolific painter whose career spans three decades and is best known for his rich
pictorial inventions, existential humor, and imaginative portraits that incorporate a hybridization of art - historical influences, such as Goya, Velázquez, Manet, Picasso, and Guston.
Not exact matches
Often using mere paper as a medium and a powerful
pictorial vocabulary of her own
invention, Nancy Spero spins tales of ferocious, heroic women.
One of the reasons the traditional confines of
pictorial space were shattered in the early 20th century was the
invention of flight.
Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal
invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate
pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.
«Weil's portrait of James Joyce teems with wit... the exhibition is a delight with
invention and
pictorial virtuosity.»
While the exhibition at the Alexandre Gallery is hardy the Dodd retrospective we needed, it does have the great virtue of giving us a concentrated account of one of the artist's most inspired
inventions: the complex, highly poetic
pictorial compositions based on the structures and settings and shifting light to be seen in and around the windows and doorways of old Maine houses.
Locating a coherent equipoise between
pictorial space and sculptural space — between
invention and actuality — invariably results in awkward (not to say «bastardized») elisions of form.