Sentences with phrase «painted as a young artist»

Educated in Nuremberg and Stuttgart Art Academies 1948 — 1954 and during his studies mainly working in ceramics, Pfahler started focusing on painting as a young artist.

Curator David Brown discussesthe self - portrait J.M.W. Turner painted as a young artist marking an important moment in his...

Not exact matches

Alongside paintings, caricatures and cartoons by such well - known artists as Marcin Bondarowicz of Poland and Lee Won - soo of Korea, the exhibition also presented heart - felt artwork by young students and informational videos on desertification and desert - restoration activities.

Positioned as a kind of educational thriller, Loving Vincent follows Armand Roulin (one of van Gogh's many subjects) as he unravels the circumstances that led to the young artist's suicide, spotlighting details of his life, and meeting many of the people who would inspire his paintings, along the away.

Malevich developed as young artist already from a late - Impressionism painting style to a radical abstract Constructivism art.

Marsden Hartley was a famous artist in American Modernism; he traveled and painted a lot in Europe, in the 1910's as a young painter.

I love the idea that these remarkable and lasting works of art were done by unschooled young artists who were basically inventing the art of painting — just as the caves were the first art galleries!

June 15 — August 5 Best known as the youngest artist commissioned to paint a portrait of Queen Elizabeth II, Christian Furr has teamed up with the godfather of rock photography, Gered Mankowitz for a unique collaboration entitled 45RPM, showing this summer in the Lobby Lounge and BAR 45 at 45 Park Lane.

Madeleine Grynsztejn, the Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA, who is organizing the Tuttle retrospective there, reflects that Tuttle's courage in scale and willful choice of ephemeral material influenced many younger artists, such as Tom Friedman, Jessica Stockholder, Polly Apfelbaum, Jim Hodges, Tony Feher, and Sarah Sze.

It is the charming vulnerability of the young woman artist, like that of the hesitating model, which is really the subject of Miss Osborne's painting, not the value of the young woman's work or her pride in it: the issue here is, as usual, sexual rather than serious.

Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.

Much has been made of the fact that the young Israeli artist Guy Yanai uses painting — an ancient, laborious technique — as his medium, even as he embraces the digital and new media norms of today (even going so far as to reference pixelation in his technique, with short, deliberate bands of color).

[11][13] As a young artist in 1959, Riley saw The Bridge at Courbevoie, owned by the Courtauld, and decided to paint a copy.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

We have talked with him about his drive to work from life, the painting challenges that come with diminished vision, how to use the inspiration you get from other painters, and what it was like coming to New York City as a young artist in the nineteen fifties.

As visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work — even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working SpacAs visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work — even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Spacas younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Space.

Sylvester countered remarks by various critics that the artist's work was closer to sculpture than to painting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 Januarpainting» (Sylvester, «Young English Painting», The Listener, 12 JanuarPainting», The Listener, 12 January 1956).

As figurative painting made a comeback in the late»80s and»90s, a younger generation of artists began to see Katz with new appreciation.

The paintings by this great Color Field innovator, now 80, looked as every bit as fresh as they did when they were first made in the»60s and»70s — prompting some fair goers to ask the gallery, «who is this young artist you are showing?»

In a disconcerting way, he remains relevant by being, like so many younger artists today, not necessarily a painter per se, but an artist who uses painting coincidentally, as one of many other potential mediums available at any time; a phenomenon which in itself would merit its own investigation.

The small oil paintings reveal him as a young artist beginning just after the tumult of Abstract Expressionism.

Amongst the younger, so - called Post-Conceptual artists, we also find works that can be experienced as comments on the abstract painting's position in recent art history.

Having belatedly stumbled upon a notice of a recent exhibition of Professor Remington's work, I was inspired to revisit my former professor's legacy and, in retrospect of over 40 years since my initial contact with her at Cooper in the 1970's — when she was a new painting professor and I was a young, developing painting student — reflected upon her impact as both an artist and a teacher.

Younger artists on my radar, includes James Bridle to Zach Blas in London as well as Celia Hempton, whose performatively produced paintings bear resonance to greats such as Maria Lassnig.

Young artists such as Donald Judd, Robert Morris and Dan Flavin were drawn to these Modernist movements, eventually abandoning painting in favor of unconventional installation - based works that utilized clean lines and modular forms.

Recently, visiting an exhibition by a painter friend, I was chatting to the young artist who runs the gallery — which doubles up as his painting studio.

As a young artist, I hadn't been all that persuaded by Nolan's brand of painting — probably because of the influence of Clement Greenberg and his cohorts and the preference for varieties of abstraction that had prevailed among the artists that I knew then.

After his discharge from the army, Kelly spent seven formative years as a young artist living in Paris, where he was influenced by the city's museums and architecture and began to develop his signature style, exemplified by his purely abstract paintings comprising differently colored panels.

Over the years Young has mastered the challenges posed by painting on location regardless of the season and has earned a reputation as one of Colorado's premier landscape artists.

Perhaps the most surprising work of this trio and the one that looks the most disconcertingly new — as if painted by a young zombie formalist feminist artist — is «Voyage,» in which appliquéd bits of textile melt into the surface while other textile patterns appear as silhouettes, not literally collaged on but, rather, spray - painted.

As a young artist, Wool had seen these paintings of Reed's when they were first exhibited, at New York's Susan Caldwell Gallery in 1975, and they had marked him deeply.

In addition, our mandate to exhibit paintings by «mature» rather than young artists might also be seen as an alternate viewpoint to that of many other small non-profit spaces.

Alongside the works of Jasper Johns and Robert Rauschenberg, whom he knew as younger artists, Rivers's appropriation and use of mass market images in his paintings starting in the mid-1950s presaged the Pop Art movement.

I left at 5 because I wanted to get home to write about the exhibition of Josef Albers Paintings on Paper, an exhibition at the Morgan Library closing this weekend — in that decision were multiple ironies, that I was leaving a fashionable art event inimical to painting in order to write about an artist who in fact I had always seen as didactic in a way that could be seen as part of the repressive politics of high modernism which contributed to my move towards feminism as a young artist.

Young's decision to remove himself from the New York art world at a time when his paintings were included in such exhibitions as the Corcoran Biennial, Nine Young Artists / Theodoron Award at the Guggenheim, and a two - person show with David Diao at Leo Castelli, was the opposite of anyone who wished to embrace the limelight.

Trent Gudmundsen is described as «a young artist who has the mature brushstroke of someone who's been painting for 50 years or more».

This new exhibition features paintings and performance works by young Korean artists Yeseul Kim and Sophia Kim, who reinterpret the creative process as personal meditation and spiritual training.

The Painted World includes paintings by important historical figures such as Paul Feeley (1910 - 1966), Yayoi Kusama, and Myron Stout (1908 - 1987); Moira Dryer (1957 - 1992) and Steven Parrino (1958 - 2005), two influential artists whose lives were cut short; and younger artists who are seriously pursuing abstraction, such as Mark Grotjahn and Ann Pibal.

Some Kabinett galleries have opted for the historical approach: Kukje Gallery / Tina Kim Gallery will present Dansaekhwa artist Kwon Young - Woo's avant - garde paintings; Japanese gallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as the 1960s.

We've had a lot of younger artists through and people do know him, they have been students of Gilliam, but it's also important for the younger generations to see these works especially as abstract painting has entered the center of the conversation again.

At the turn of the 21st century, well - established artists such as Sir Anthony Caro, Lucian Freud, Cy Twombly, Robert Rauschenberg, Jasper Johns, Agnes Martin, Al Held, Ellsworth Kelly, Helen Frankenthaler, Frank Stella, Kenneth Noland, Jules Olitski, Claes Oldenburg, Jim Dine, James Rosenquist, Alex Katz, Philip Pearlstein, and younger artists including Brice Marden, Chuck Close, Sam Gilliam, Isaac Witkin, Sean Scully, Mahirwan Mamtani, Joseph Nechvatal, Elizabeth Murray, Larry Poons, Richard Serra, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Joel Shapiro, Tom Otterness, Joan Snyder, Ross Bleckner, Archie Rand, Susan Crile, and others continued to produce vital and influential paintings and sculpture.

A gift of 47 paintings, sculptures and works on paper from collector, scholar and advocate Gordon W. Bailey, featuring such renowned 20th - century artists as Leroy Almon, Burlon Craig, Roy Ferdinand, Howard Finster, Bessie Harvey, Lonnie Holley, Ronald Lockett, Elijah Pierce, Herbert Singleton, Purvis Young and Thornton Dial, Jr. — This is Bailey's third substantial gift to the High since 2010 and further underscores his commitment to helping build the Museum's collection, which is recognized as one of the world's most significant public repositories of work by American self - taught artists.

Moving from art - school grad to accomplished young artist - his shows include Kavi Gupta gallery, Chicago's Museum of Contemporary Art, a recent attention grabbing appearance at Art Basel Miami Beach as well as an upcoming solo at New York's Lehmann Maupin Gallery - Otero quickly became a virtuoso of the newfangled mash up of abstract and figurative painting that constitutes today's new Nouveau Realisme (think Mark Bradford sans the racial essentialism).

The interdependence is even greater now, as outsiders quote European painting and young artists, such as Amy Wilson or Paul Chan, borrow from Henry Darger.

Vaguely reminiscent of improvised tools or handmade toys, the Elemental Sculptures emerged as the young artist was transitioning from a practice defined largely by painting and photography to a more experimental mode that would culminate in his Combines, an expansive body of works produced primarily in the mid - and late 1950s that bridged the gaps between painting, sculpture, and collage.

All in all, Acid Free serves as a great opportunity to view works by three young artists using craft materials as a means to produce what is traditionally considered «fine» art and has as much in common with painting and sculpture as it does craft and fashion, representing this latest trend in the blending of high and low in art.

Landscape painting, for instance that of Reta Cowley, Wynona Mulcaster and Dorothy Knowles, has been a major force; their example had encouraged the work of younger artists such as Greg Hardy and David Alexander.

A significant group of paintings and sculpture by Joe Light, as well as individual works by artists such as Archie Byron, Mary T. Smith, Royal Robertson and Purvis Young, complement existing holdings by those artists.

By some fortuitous coincidence just a few steps separate «Joan Mitchell: The Last Paintings» at Cheim & Read from «Matta: A Centennial Celebration» at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as «old age style» — used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier years.

Modernist painting for me as a young artist was the given, the ground in front of me, what I had to face and think about in order to paint.