Sentences with phrase «paintings in the exhibition southafternoon»

-- I helped a little girl of 7 years to capitalize and to submit paintings in some exhibitions; — All students have participated as guests on the show for children Tirigong at the local television station in a dedicated to our mothers and to Fairy Spring show; — I organized a small theater bande named Fireflies who have a remarkable success (two awards for interpretation at Come to the theater!

Of the large paintings in this exhibition, Walpurgisnacht - Faust I sets the stage for Müller's argument.

Without preconceived plans for his canvas, Elrod employs the computer to work, save, and re-work hundreds of drawings, and the paintings in this exhibition are made from the artist's previous works.

Many of the paintings in the exhibition utilize this fabric as their starting point, and over which she has continued to paint to create new works.

Her paintings in the exhibition All Roads in My Mind depict scenes that most of us are familiar with: a boat trip or a summer day on the beach, and you can almost feel the wind in your hair, touch the sand and feel the warmth of the sun on your skin.

The paintings in the exhibition were done in a short period of time, from 1954 to 1956 when Kaprow was in his late twenties, having studied art since his teens as a student at the High School of Music and Art in New York City — he later received an MA in art history from Columbia.

The paintings in this exhibition were part of her recent show at The Eleanor D. Wilson Museum in Hollins University, in Roanoke Virginia, a component of her tenure as the 2017 Frances Niederer Artist - in - Residence at Hollins.

(Like every painting in the exhibition, these three are all dated 2015.)

The paintings in the exhibition, Four Paintings (on view through June 3rd), are the kind of hate - it - or - love - it guilty pleasure that arouses a gut reaction and a tip - of - your - tongue familiarity.

Other paintings in the exhibition depict obscure machines, whose enigmatic presence appears foreboding in the context of the toddlers and suggests an element of scientific experimentation.

The sculpture is a functioning wind vane and a freestanding portrait of the artist's wife and life - long muse, Ada, who is the subject of many of his works, including a painting in the exhibition at the Serpentine Gallery.

According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, and they had an enormous impact on him and his work.

The final painting in the exhibition is the silver, yellow and pink, Number 27, 1950, by Jackson Pollock.

The seven paintings in the exhibition, which feature imagery culled solely from the painter's personal environment, represent somewhat of a new direction in the artist's work — one where looking and self - reflection come to the fore.

We have 3 paintings in this exhibition in Rye, East Sussex selected by artist and curator of Rye Creative Centre, Paula MacArthur and exhibitions curator of Jerwood Gallery, Victoria Howarth.

MAASTRICHT, NETHERLANDS — Traveling from Kunsthalle Lingen, Rebecca Morris presents twelve recent paintings in the exhibition Southafternoon, through September 7th.

The 16 paintings in the exhibition are dated from 1993 to 2017, which amounts to a much - deserved survey.

All of the paintings in the exhibition are on loan from the collection of Preston H. Haskell III, Princeton class of 1960, a longstanding Museum benefactor and former chair of its Advisory Council.

The review also misstated the number of paintings in the exhibition.

We had just begun the process of seeking out her heirs to see if there might still be a possibility of including the painting in our exhibition, when Dana Pace, a colleague in SFMOMA's Development Department, received a letter from a trustee representing Mrs. Foster's estate.

Painter Kim Rae Taylor, who lives and works in Cincinnati, will exhibit a series of mixed media paintings in an exhibition titled Rendered Complete Equals.

The big, playful paintings in this exhibition, from Dexter Dalwood's fantasy landscape mash - ups to David Salle's postmodern explosions of thought and colour, could just as easily be painted on a wall in London or Cairo as on canvas.

The paintings in the exhibition retain their relationship to their original habitats, as well as their various means of extraction.

The paintings in the exhibition were made in New York this fall where the artist set up a studio earlier in the year.

The artwork in this exhibition reveals how African - American artists favored a temporal depiction of Africa as a continent whose culture is timeless, varied, and endures... Some of the paintings in the exhibition reveal how artists

There are twenty - one paintings and «frame» paintings in the exhibition.

When I consider the paintings in our exhibition, there are only a very few that are called Untitled.

But if we look at Guston's abstractions done at about the same time as Carone's paintings in this exhibition, we see mark making and vestiges of mimetic images jostling for ascendancy.

It is to me the most architectural of the paintings in the exhibition, its space defined in perspectival terms.

Although Don Nice is best known for his depictions of contemporary American culture such as candies, soda bottles and branded sneakers, the early watercolor and oil paintings in this exhibition stem from the artist's upbringing on an open range and his love of nature.

The paintings in the exhibition embody a tension between reality and abstraction.

The three large paintings in the exhibition mark Whitten's turn away from the overtly figurative to a form of subliminal figuration.

The paintings in this exhibition were created in Rome, Italy in 2012 - 13 and in CT in 2014.

There, she made the earliest paintings in this exhibition.

Included among these are two monumental, sculptural wall pieces constructed from the rough - hewn woodblocks McCloud used to stamp the paintings in the exhibition.

The «other» paintings in the exhibition expose the unrelieved and idealistic conceit that Grabner desperately clings to when she is in the studio.

The paintings were well received by the public at large, and it was the artist Wassily Kandinsky, after seeing the paintings in an exhibition in Moscow in 1895, that suggested this series as the first abstract painting in history.

Because watercolors are subject to fading when exposed to light for extended periods, the paintings in the exhibition are shown only rarely.

The paintings in the exhibition illustrate the fine detail and depth of color that can be rendered in this challenging and striking medium.

I wonder, in our age of interdisciplinary practice, why more painters aren't freely including both mimetic and non-objective paintings in their exhibitions.

For instance, the self - portrait type painting in the exhibition, Horse and Rider, that was made over 3 to 4 years.

From his signature «blackboard» paintings (which are oil on canvas) to the more representational landscape paintings in this exhibition, Fisher constructs constellations of ideas, thoughts, and images much like the disjointed nature of the unconscious and that of memory.

Walker's North Branch II, along with his three other recent paintings in the exhibition, reflects a love for the Maine coast.

For many of the paintings in the exhibition he has printed his digitally manipulated images directly onto Arches watercolor paper and interceded directly upon them.

Specifically with the paintings in this exhibition, there is a dialogue about going back to certain basic ways of survival, as expressed in the imagery of hunting, a possible metaphor for today's world.

The three paintings in this exhibition fit within a greater body of Titian's works, in which the artist visually reenacts scenes from «Metamorphoses» in dynamic compositions across large - scale canvases.

By the time he worked on the paintings in this exhibition, John Hoyland: Stain Paintings 1964 — 1966 at Pace (September 25 — October 21, 2017), his work had undergone a number of significant and radical changes.

John Ashbery, Frank O'Hara and e.e. cummings are some of the poets whose writing will inform paintings in the exhibition.

Three of the most prominent paintings in the exhibition underscore the «quintessentially New York» quality of the Armory Show.

The paintings in this exhibition span the length of Godwin's career, from the mid-20th to the early 21st century, demonstrating her remarkably persistent commitment to establishing and expanding her own abstract language.