Sentences with phrase «painted landscapes between»

Not exact matches

In a conversation between a Spirit who resides in heaven, and a Ghost, who was an artist on earth, the Spirit explains to the Ghost, «When you painted on earth — at least in your earlier days — it was because you caught glimpses of Heaven in the earthly landscape.

Christian artist George Rouault painted several landscapes depicting Christ walking between two disciples, pictures that evoke the Emmaus account.

By painstakingly looking at the plant DNA found in permafrost samples dug out of 200 locations across the Arctic, Eske Willerslev at the University of Copenhagen in Denmark and his colleagues were able to paint a picture of the landscape between 50,000 years ago and today.

Previous research on technology use across the life span has focused on the digital divide — or the disparities between younger and older adults — painting a rather bleak picture of seniors» ability and motivation to adapt to a changing technological landscape.

My intention involves blurring the lines between genres, so that still lifes can read as landscapes, portraits, history painting, etc..

In Dark Abstraction (Woods), 1920, Dove paints a forest landscape hovering between darkness and light.

Tuck writes that: «the paintings in this show alternate between the quiet and the chaotic: landscapes that are represented like in comics and topographical maps — on a soft colored ground lines are drawn with paint, the figures are much smaller than life size and feel like quotes from movies... [Richter] draws seamlessly from our common cultures of art, entertainment, violence, music, etc., and plants these things in his paintings.»

Its title refers to the tall pines of the Sunshine State, while the show paints a multimedia landscape both magical and menacing — fluctuating between gothic fantasy and reality.

Her current solo exhibition at Mid-Wilshire's David Kordansky Gallery, More Life features her largest paintings to date, ones that blur the lines between landscape, minimalism, abstraction and help to elevate human consciousness.

«It is the excitements of this conjunction between a Romantic nineteenth - century Briton and an abstract expressionist twentieth - century American that the exhibition seeks to evoke, revealing the fellowship that the two artists share in paint across their temporal divide, and the vibrant correspondences which uncover something of the timeless cerebral foundations of landscape art.

Hurvin Anderson is «best known for evocative paintings of lush landscapes and urban barbershops that explore themes of memory, place, and the indelible connection between the two.»

Italienische Landschaft belongs to the group of early photo - paintings of faraway places that art historian Dietmar Elger specifically highlighted as exemplary for the dichotomy they presented «between the objectifiable distance generated by black and white painting and the artist's personal interest in the motifs» (Dietmar Elger, Gerhard Richter Landscapes, exh.

She has pushed her painting into a realm between landscape, mapping and abstraction.

Known for her inimitable landscapes that blur the boundaries between sculpture, installation, and painting, Sze explores how materials convey meaning and a sense of loss through entropy and absence.

The artist talks about «the strange symbiotic relationship between landscape and man - made structures,» and surely those structures include painting.

Marjorie Rawle examines how an exhibition at the New Orleans Museum of Art attempts to draw connections between the paintings of New Orleans - based artist Regina Scully and Edo - period Japanese landscapes.

By Sara Schnadt, July 3, 2012 In his work he sparks an awareness of the contrast between an American national identity that was developed at the start of the country and communicated around the world through landscape painting with imagery from contemporary American post-industrial cities.

These works continue the artist's inquiries into landscape painting, mining, the connections between the cosmos and the subterranean, and the cultural significance of gold.

Omnia per Omnia reimagines the tradition of landscape painting as a collaboration between an artist, a robotic swarm, and the dynamic flow of a city.

Esopus 23 presents specially - commissioned projects exclusive to this issue including a series of images printed on translucent and metallic stocks by Marilyn Minter, a portfolio of die - cut works by Mickalene Thomas, a collection of images and documentation by Jody Wood relating to her ongoing «Beauty in Transition» series, a new series of paintings by Stefan Kürten; drawings by Karo Akpokiere dealing with the challenges of living and working between Berlin and Lagos, and a series of abstract photographic «landscapes» created in the darkroom by master black - and - white printer Chuck Kelton.

A coastal landscape painted between 1635 and 1641 is one of the first exhibits.

His painterly practice has always oscillated freely between figuration and abstraction, but in the past few years gained a specific focus on the relationship and dichotomies between Western and Asian approaches to landscape painting and nature.

Similar in spirit to Tomaselli's earlier work which referenced the relationship between the sub-culture of psychedelia and utopianism, these new paintings expand the dialogue into a fictive landscape where figures populate a frenzied, cosmic and other worldly universe.

Next to eleven large paintings made between 1998 and 2003, provided by the Mazzoli Gallery in Modena, there will also be a group of ten amazing new paintings portraying figures of great ebullience against backgrounds of poetic landscapes.

In painted spaces that hover between boudoir and landscape, the women here contemplate, investigate, and celebrate their bodies.

Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.

In summer 2015, the High Museum of Art will present a major exhibition of 60 works created between 1954 and 2013 by internationally acclaimed American artist Alex Katz, including 15 monumental landscape paintings to be displayed publicly together for the first time.

Their current work explores the relationship between contemporary art making practices and the historical tradition of romantic landscape painting.

This exhibition demonstrates the precise and committed way in which the artist conceives and executes his paintings by mediating between the building, the landscape and reproductions that inform one's experience of the original.

Monet had a direct connection to this special place, as he had painted the same landscape between 1878 and 1881, owned a small house that was located at the bottom of Mitchell's property and lies buried in the local church cemetery.

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

Mines, bombing ranges, and junk heaps are source material for her landscape paintings and representational drawings that explore the line between land and landscape, beauty and banality.

Erica Baclawski's paintings explore the psychological space between landscape and the body.

Butler is well known for his paintings of landscapes and trees that exist on the boundary between representation and abstraction.

It is the excitements of this conjunction between a Romantic nineteenth - century Briton and an Abstract Expressionist twentieth - century American that the exhibition seeks to evoke, revealing the fellowship that the two artists share in paint across their temporal divide, and the vibrant correspondences which uncover something of the timeless cerebral foundations of landscape art.

Hofmann made works of astonishing variety, crossing the boundaries between allusion and invention, reference and abstraction, in paintings ranging from the broadly invoked interiors, still lifes, and landscapes of his first American years, to eerie surrealizing «creatures,» minimal geometric abstractions, and finally, the bold confrontations of pulsating rectangles of thick paint — the acclaimed «Slabs» — and the orchestrations of free - floating, varied painterly gestures that characterized his last years.

Through paint, pixel, word, and fabric she creates work that functions as a bridge between the hypothetical and the physical, objects operate as artifacts of personal - as - political discovery formulated within a landscape balancing between nihilism and mysticism.

These painted landscapes of the horizon have great potential to blur distinctions between the world and our idea of the world, shaped by our own perspectives.

Hoffmann makes big oil paintings and tiny ones, moving between geometric abstraction, landscape painting, and still - life compositions.

For example, the Mass MoCA installation in the shape of an eye or the spray painted sites between downtown's 30th Street Station and North Philadelphia's Amtrak Station, including abandoned buildings and landscapes that can be seen from the moving train.

Through his acrylic paintings, he communicates a strong commitment to the environment in which we live as well as a comparison between artificial and natural landscapes.

Between 1882 and 1889 he painted over ten winter landscapes in watercolor and oil of the region.

These partial landscapes act as a middle point, not just conceptually in the paintings but also in the exhibition as it repeatedly transitions the viewer between the public and private dichotomies Castellana is constantly dissecting in his work.

September 19 — December 7, 2008 Best known for his exploration of the interstices between art, science and photographic illusion, Barcelona - based artist Fontcuberta created these 40 large - scale prints using computer software that transformed well - known paintings and photographs into virtual landscapes.

Suffused with the play of color, light, and space, this new body of work uses the language of romantic landscape painting as it shifts between zones of abstraction and narrative.

His lurid fantasy landscapes painted on stock - market listings draw contemporary analogies between the state of the planet and industrial capitalism, but their dramatic geography originates in the New World vistas of the Hudson River School, just as their apocalyptic storm clouds derive from John Martin.

Then she created this special separation between the upper body and the lower body, between what is going on in the landscape painting and what is happening in the bed.

As such, looking across the paintings the object appears to shift between guises, moving from evoking the calmly undulating natural form in a landscape to the brazen and speedy flash of the carnivalesque.

What / Why: «Blurring the boundaries between sculpture, installation and painting, Sarah Sze builds intricate landscapes from the ordinary minutiae of everyday life, yet on a grand architectural scale.

Driven by emotion the central tension in much of the work lies in the play between dark and light, whether that be in explorations with color and abstraction or in large - scale landscape paintings.