Sentences with phrase «pictorial form of»

«I believe also that this particular special edition is going to go down as a historic edition and I don't want to miss that point because it's something that we must be able to put in all our institutions so like I said we are going to get many copies to be able to give to embassies, our hotels, our schools, our libraries, all our institutions, in the secondary schools and also to be able to keep for those yet unborn to be able to see in pictorial form of the things we have tried to do in the last 50 years and maybe inspire some other people to do greater things than what has been recorded here,» the Governor said.

Not exact matches

It would then be an attempt to convey in a vivid pictorial form the truth, or the belief, that self - sacrificing love is so supremely valuable that in comparison with it even death is of small significance; that although the enemies of Jesus won their victory over him, yet in retrospect his life has become a more potent influence than theirs, for his memory has survived as an inspiration and example for all men.

Indeed, as early as Origen in the third century it was being pointed out that we must not think of the Ascension as a movement in space; and in fact Luke seems to have translated into mythical form, i.e. a pictorial narrative, the universal belief of the early Church that Jesus has ascended to the throne of God, not in a physical manner but in the sense that he has been exalted to Lordship over all the world.

Susini was well aware of Greek sculptors» concern that their work not be read in merely pictorial terms from static viewpoints» that sculpture be experienced as a spatially dynamic art form.

You will see a pictorial expression of fertilization processes; how the sperm cell swims to an ovary and clings to it, then within some weeks a fetus looking like a tadpole is formed.

Sumptuously photographed and exceedingly intelligent, The Portrait of a Lady is a cinematic fever dream fascinated by the pictorial and sensuous forms of dominance within James's text, and the inextricable bond between romantic love and violence.

This form of instruction moves students from concrete manipulatives to pictorial representations of those manipulatives, and finally to abstract concepts.

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What has never been sufficiently taken into account by «serious» criticism is the character of these works as monumental and ironic put - ons, blagues, a favorite form of destructive wit of the period, inflated to gigantic dimensions — pictorial versions of those endemic pranks which threatened to destroy all serious values, to profane and vulgarize the most sacred verities of the times.

Washy runs of paint are employed late in the game, as are triangles, trapezoids, and squares — solid forms that are, in the context of Martin's pictorial equanimity, gratifyingly rude.

This exhibition covers a span of over four decades (c. 1929 — 70), including a total of some forty paintings, photographs by the artist, works on paper, and sculptures in order to explore the change and continuity in Still's ideas and pictorial forms.

There are endless ways of appreciating John Newman's incomparable singularity -LSB-...] By revealing a willfulness to persist in pursuit of a vision that emphatically demands a precise pictorial language — one that correlates with its differences, materially and formally — Newman has created another kind of sculpture in which different forms sing independent melodies that harmonize with the orchestration of his unending interest in all things.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

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.

Over the course of nearly six decades, William Eggleston — often referred to as the «father of color photography» — has established a singular pictorial style that deftly combines vernacular subject matter with an innate and sophisticated understanding of color, form, and composition.

Similarly, in Leaf and Line, vague pictorial plant references are placed among undulating free forms of shapes and color and all set against a dramatic expanse of yellow in the upper quadrant.

The artist's flawlessly rendered surfaces; use of stark lighting and awkward compression of pictorial space heightens the detachment of his subjects from lived experience and, as some writers have acknowledged, offers a reading of his work as a form of abstraction.

Many of the artists represented in the collection have explored drawn formats extensively, questioning its status and conceiving new forms of the dessin: e.g. Trisha Donnelly, who fuses drawing and video; Urs Fischer, who creates drawings in three - dimensional space; or artists like Raymond Pettibon, Larry Johnson and Mike Kelley, who work with the pictorial idiom of comics.

These nine prints in themselves offer a mini-retrospective of the main motifs used throughout her career, from the early orthogonal patterns of her Bauhaus period, through her lyrical knots and threads and fibres of her Black Mountain pictorial weavings, to her more geometric and graphic works with their repetitions of triangular and rhomboidal forms of her later years.

DAVID SALLE — The pictorial drama, the spatial conception, and an organizing impulse around a kind of theatrical / pictorial gesture, one that is always there, though it takes different forms.

With such works as «Path II» (1960) and «Alchemist» (1960), dense pictorial dramas are unleashed, with colors and forms competing against one another in a storm of darkened strokes.

[34] Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.

Of her work, Taylor says, «Through mixed media painting and drawing, I experiment with the pictorial function of words by deconstructing textual elements alongside organic forms found in naturOf her work, Taylor says, «Through mixed media painting and drawing, I experiment with the pictorial function of words by deconstructing textual elements alongside organic forms found in naturof words by deconstructing textual elements alongside organic forms found in nature.

(1910 - 1962) American, yet imbued with visual culture of Europe, Franz Kline exemplifies the development of pictorial language from a figurative form that derives from Rembrandt and the other great masters whose work he knew well from visiting European museums, to abstraction.

The introduction of brooding forms can now be understood as harbingers of a new figuration, wherein titles such as «Painter» (1959) go so far as to suggest the pictorial presence of Guston, the painter himself.

The faculty has designed a pattern of studio and seminar courses that fosters the development of pictorial concepts realized in the tangible form of painting and drawing.

The combined elements create a pictorial space confounding ideas of ornamentation and desire, high and low forms, figure and ground.

A majority of the works in the show are hard - edge geometric abstractions, many of their forms and their relation to pictorial space arrived at with the help of early computer programming and projection techniques.

This understanding of sculptural language and a preoccupation with forms in space, translated into two - dimensional images, underpins her pictorial practice.

Her richly layered pictorial works often evoke the forms and imagery of Russian Constructivism but also draw on her own contemporary lexicon of mass - culture motifs and abstraction to reflect on changes in the artist's home city of Moscow since the collapse of the Soviet Union.

Across a vast expanse of canvas standing eight feet tall, the amorphous forms of Andy Warhol's striking Rorschach propels the viewer into a pictorial and psychosomatic contemplation.

The pictorial and object worlds generated by Herwig Turk thereby refer to traditional patterns of representation, which call in question both stereotypes of landscape painting and forms of portrait painting.

The last decade or so of Roberts's paintings reveals more intense colour, more open pictorial space, less enclosed or silhouetted forms, and more intense handling of the materials.

Estes Lost Horizons series gives pictorial form to vanishing natural domains and references Frank Capra's 1937 film of the same name.

He then eliminated pictorial depth for a field of color in the 1950s, calling the works Magical Space Forms to recognize the importance of the flattened space.

In part such a restriction allows more intense investigation of formal relationships between one pictorial form and another, but more importantly, the red, white and black are iconographically suggestive.

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.

His repeated minimal palette correlates to his obsessive interest in line and form, drawing, and monochromatic and tonal values, while developing a complex language of pictorial and sculptural signs.

An early 20th - century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

Using his fragmented memories of the actual establishment as the setting for these works, the artist meticulously renders parts of hotel's interior, adding the organic forms and other pictorial elements to enhance the works» depth and poignant appeal.

Such subconscious confluence made me consider these paintings in light of Jungian forms: depictions of buried psychic landscapes containing «their own pictorial logic,» as the show's press release states.

All are seductively colored to appeal to the child, but the astute viewer might notice that they are successively made from cubes, spheres and cones, the forms that are taught in every beginning painting class to be the basic building blocks of pictorial representation.

As with some of her paintings, McIntosh worked in a shallow pictorial space, decisively arranging and re-arranging forms over the colored sheets.

What sets Voigt apart from the legacy left by this generation of artists is her ability to present moments during which her inner world (experiences, emotions, memories) engages with the outside world, rendered as complex pictorial spaces that come together in a marvelous symphony of forms and ideas.

The painting invites its viewers on a pictorial quest, scanning for clues around the perimeter of this amorphous form and searching throughout the rich gradients for hints of the unique chromatic ingredients which have melded together to produce the majestic veil.

Color and line, contour and form — the building blocks of pictorial construction — were isolated to the point that they seemed to function independently, no longer constituents of a picture but whole entities in themselves.3

Tal R often establishes vivid, expressive settings within a recurrent pictorial framework comprised of three zones: a «heading», used as the palette, a central area in which colour becomes form, and a lower «foundation».

And in the hey day of Modernism, critics like Clement Greenberg pursued a narrative which saw Modernist painting as a «peculiar form of tunnel vision leading away from pictorial depth and compositional complexity towards flatness, all - overness and the absence of association.»

You know, one of the more pronounced aspects of your work, in addition to what we just discussed, is the way you find a balance between the accident and the control, the formal and the content of images, which concerns the distribution of negative and positive shapes in their spatial organization, as well as how you integrate graphic elements with pictorial forms all at once.

He believed that, in rejecting pictorial traditions, he could access a more essential form of personal expression — one that was raw and unfiltered, and espoused a Jungian, primal way of being.