Sentences with phrase «painted human form»

Ms. Marcus painted the human form in flat color with a muted affect.
But given the current predominance of the painted human form in the work of so many of today's leading artists it couldn't be more timely.
Here's a chance to check out some cutting edge takes on what it means to paint the human form, all in the very small porch gallery.
[10] She made increasingly Impressionistic paintings, but like «many of her Boston colleagues, she did not compromise her dedication to painting the human form

Not exact matches

Ice age humans may have communicated in a form of protowriting through symbols marked next to European cave paintings, National Geographic reports.
Performance artist Laurie Anderson offers up something of a living painting with «Heart of a Dog,» her provocative free - form reflection on life and death, humans and animals, the moon and the stars and other big picture ideas.
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Characters can switch between human and squid form and playing as a squid enables you to move quicker and hide from your opponents in the paint.
Its inhabitants, the Inklings, are strange human - squid hybrids who can switch forms at will, splattering paint on the floor in their biped guise then swimming through it as a squid, and their obsession is a manic form of paintball.
But you can only fire ink to kill your enemies or paint the stage in human form so players will be shifting between the two forms regularly.
His paintings started featuring anatomical drawings at various depths of the human form: outer skin and hair in one rendering, subcutaneous musculature in the next, skeleton in another.
Kreiger writes: «While at first glance this show seems to be a simple set of paintings exploring different approaches to the expression of the human form from the 1960s to the present, the way this exhibit has been curated creates endless curiosities and surprises.
In all of the works, the articulation of each form — whether a paint - streaked surface or carefully cut out paper — describes a particular phenomena of time and motion, while giving concreteness and permanence to fleeting traces of human action.
Freud's adherence to realism and focus on the human figure, when abstraction and other progressive forms of practice were more prolific, moved him in and out of the spotlight until the 1980's when renewed international interest in painting and figuration gave his work a new significance.
Influenced by feminism, quilt design, and non-Western as well as Western art, Ms. Valdez combines paint, fabric, and embroidery on canvas to yield abstract forms with undeniable relation to the human body.
Viewers can also look forward to new names and exciting artist discoveries, including video artist, Becky James; the painted assemblages of Annelie McKenzie; comical ceramicist John DeFazio; New York - based sculptor, Max Heiges» human size steel forms and furniture; and cookie caricature artist Rebecca Levitan, who sculpts cult figures» faces into edible treats.
I've come to the realization that a landscape is part of a larger energetic system; that it is not constant in form, structure or proportion; and that any attempts to capture both the rough topography and the sensorial experience of landscape in painting must include an active human presence.
De Kooning never abandoned the human form, Pollock sought (and failed) to reappropriate it after his signature drip paintings, and Gorky's abstractions, those lyrical elisions of biomorphic shape and washy veils of pigment, are nothing if not figure painting by other means.
In line with the recent trend of figurative painting, this show, curated by Katrina Neumann, brings together a multigenerational group of artists who create paintings that consider the human form within real and imagined environments.
In lush evocations of the female form, such as Nude — Elbow on Knee (above), painted in 1961, he continued many of the pictorial innovations of his previous series, but set them within an intimate portrayal of the human figure.
This powerful contemplation of the human form is evident in previously unseen paintings by Yoshitomo Nara, Kehinde Wiley and Jiro Takamatsu.
Each hand - painted form creating a perfect geometric shape is a microcosm of this balance suggesting the breadth of human experience.
His paintings portray the human figure encoded in bio-morphic forms and gestural marks, and typically use a restricted palette.
See, in Denim Dress, how the tranquil American iconography of girl - sprawled - out - in - field jumps the frame when you realise the girl is a boy; and in Junction 2015, how the mythic forms and long shadows of the American west are worked into surreal compositions that speak as poignantly of human longing as has any sculpture or painting.
His paintings use a mixture of resin, oil paints, and pigments to create liquid forms: fluids, which for him represent humans, interacting in neural space.
These early pieces evolved rapidly from representational landscape scenes and portraits of military colleagues, to semiabstract and Surrealist - inspired depictions of topography and the human form, to the artist's mature Abstract Expressionist paintings.
By the 1950s he was recognized as one of the leaders of Abstract Expressionism, though some purists of the style thought his paintings (such as his Woman series) included include too much of the human form.
Her paintings and drawings, often devoted to depictions of the human form, are typically culled from a vast archive of images collected by the artist, including art historical materials, mass media sources, and personal snapshots of friends and family.
The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.
I hope that viewers are able to see something of themselves and those they love in each painting, be it in the glance of an eye, the bend of a knee and an elbow, the smile on a face elated or the absence of human form where animals convey similar glances.
I find as much interest in abstract painting as I do in drawing the human form.
Exhibitions on view at the city's renowned private collections include forthcoming shows at the Cisneros Fontanals Art Foundation (CIFO); «Force and Form» at the de la Cruz Collection Contemporary Art Space; «Pop Art: Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, Andy Warhol, Tom Wesselmann» and «Sculpture, Painting, Video: David Claerbout, Federico de Francesco, Anselm Kiefer, Rosy Keyser, Imi Knoebel, Emil Lukas, Hugo McCloud, Olaf Metzel, Ernesto Neto, Diana Fonseca Quiñ ones, Sue Williams» at the Margulies Collection at the Warehouse and «Still Human and Allison Zuckerman: Stranger in Paradise» at the Rubell Family Collection.
Taking its title from the name of a fictional, post-iPhone device at the centre of Gary Shteyngart's 2010 near - future novel Super Sad True Love Story, Äppärät is concerned with labor, play and the uncertain zone between the two; with the extension of the body, and the self, through technologies ancient and contemporary; with things (to borrow Martin Heidegger's formulation) «present - at» and «ready - to» hand; with compulsion and with death Äppärät begins with Jessie Flood - Paddock's Just Loom (2015), a wall painting - cum - sculpture based on an illustration of a worker operating a loom from Denis Diderot's Encyclopédie (1751 - 72), one of the first attempts to record and systematize all human knowledge in published form.
We will explore the issues central to abstract painting, such as nature, structure, geometry, the human form and master paintings as potential sources of investigation and inspiration.
ABSTRACTION AND THE DREAMING: ABORIGINAL PAINTINGS FROM AUSTRALIA»S WESTERN DESERT (1971 - PRESENT) Tjukurrpa, or «the dreaming,» a belief that land and human laws were formed by ancestors, serves as the guiding principle for paintings by AboriginalPAINTINGS FROM AUSTRALIA»S WESTERN DESERT (1971 - PRESENT) Tjukurrpa, or «the dreaming,» a belief that land and human laws were formed by ancestors, serves as the guiding principle for paintings by Aboriginalpaintings by Aboriginal artists.
You know, Gerhard Richter often says painting is the highest form of hope, and if you look at the way Klee paints these very paradise - like gardens but at the same time the insanity of human beings, he shows us all the directions the mind can go.
A breakdown of facial traits into tiny patches of paint, Close's artworks are a way of understanding the human face, a form of optical training, both for the artist, but also for the viewer.
Yves Klein paintings of the human body are part of an art historical continuum which celebrated the female form.
His large - scale paintings collapse figuration and abstraction, encapsulate dynamic energy into geometric form and embrace imperfections and raw surfaces in an entirely human way.
Oehlen's 2008 oil painting Hombre uses an ad for a wetsuit as a surrogate for the human form.
Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.
In each case, Rauschenberg's primary aim was to create a painting that looked untouched by human hands, as though it had simply arrived in the world fully formed and absolutely pure.
Ms. Shor's preferred medium is oil paint and her focus is on the human form.
Joffe introduces an element of abstraction into her figurative works, evincing a distinct style of painting that draws on bold lines and geometric forms to create powerful human portraits.
John is like a magician, transforming gestural sweeps and scribbles of paint and conjuring out of them the human form.
Peppering his canvases with hidden references, ranging from Old Master painting to Pop Culture, Stegner takes great expressive liberties with the human form by combining opposite signifiers of gender and strength.
Soon, A.R. Penck was enjoying a worldwide attention for his paintings with pictographic, primitivist imagery of human forms and other totemic designs.
Hollowell uses painting to portray the shapes, forms and colors of human and female arousal and discomfort.
Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.
Belgian artist, Michaël Borremans, creates mystery on the canvas through figurative painting, filing inanimate objects with a sense of humanity, and obscuring the life from any human forms.
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