Sentences with phrase «pictorial world of»

One of the twentieth century's greatest Modern artists, Miró created a pictorial world of intense imaginative power, in which visionary and cosmic elements are inextricably intertwined with the earthly and mundane.

From 2 October 2014 until 11 January 2015 the Schirn Kunsthalle Frankfurt presents the bold pictorial world of Helene Schjerfbeck, Finnish Modernism's most important woman artist.

As spectators, we can take special pleasure in entering the pictorial world of an artist, and letting ourselves get carried away by the mood.

As they gain aptitude for sequential and logical thought, their most vital asset remains the ability to be fully at home in the pictorial world of imagination.

The pictorial worlds of the artist, whose primary motivation was always self - representation in the sense of the visualization of a personal, albeit fragile, self - image, revolve again and again around this love triangle and the resulting emotional entanglements.

Not exact matches

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.

A more pictorial and naturalistic but no less conceptualized variation on this approach is the popular painting by William Holman Hunt, The Light of the World (1851 - 1853), in which Christ knocks at the allegorical door of the heart, waiting to enlighten it with his lamp of truth.

Huffington Post: Religious Holidays 2013: An Interfaith Calendar (Christian, Hindu, Jewish, Muslim And More) Click through the slideshow to see a pictorial religious calendar for 2013 with photographs of celebrations of the world's numerous beautiful and sacred holidays.

In other words, it is to say that we believe that implicit in the pictorial language of the Scriptures and the historical events to which the Bible points and with which its language is concerned, there is a basic view of the world which is grounded in reality itself.

Inadequate as they are, subject to modification from time to time, needing correction and supplementation, our various human languages (verbal and pictorial, aural or graphic) are both necessary for us and useful to us; they help to make sense of, and they help to give sense to, the richness of experience and the given - ness of the world as we observe and grasp it.

These articulations, together with allusions to contemporary sun - saturated paintings, the illustrated «girls» stories» of Louise Mack, fairytales and dreams, summon an internalised, Utopian realm that occludes the outside world, and is movingly evoked in the credit sequence, its pictorial timelessness framed by two textual statements of time and place.

These are aimed at telling us how brilliant our world of teaching is and what we mean to the world, and pictorial presentation to emphasize explanations.

Shot by Italian Master Photographer, Francesco Carrozzini, the 7 - pages pictorial piece «Beyond the Swimsuit» brings together «day in the life» scenes that befit one of the world's most famous women, Heidi Klum, the Hollywood star with the glamorous Quattroporte Ermenegildo Zegna Limited Edition.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

With more than 150 outstanding colour photographs exploring hauntingly beautiful places over one or two spreads, Abandoned Places is an excellent pictorial examination of worlds that we've left behind.

5 He concludes «the world is awash in visual information... This hasn't necessarily resulted in greater pictorial literacy, but it probably has affected the way we look at art, and the making of art.»

Each painting's blue world, although all of the same color blue and treated in the same way, revealed itself to be of an entirely different essence and atmosphere; none resembled the other, not anymore than pictorial moments and poetic moments can resemble one another.

Farah Atassi creates real pictorial worlds through a re-reading of the notions of perspective and an overabundance of geometric patterns.

«Among the wildly disparate features of today's art - world landscape, two modes of pictorial thought with venerable lineages have recently re-emerged: materials - oriented abstract painting, and a linear approach to the investigation of the third dimension that may conveniently be referred to as «drawing in space.»

My work relates to Cubists and Futurists paintings — in which the natural world is translated into a stark pictorial language of shapes, lines and angles.

Over four decades, Charlesworth investigated the language of images in our culture, dissecting pictorial codes and conventions while drawing attention to the role of photography in mediating our perception of the world.

N O C T U R A M A recalls the eponymous album by Nick Cave & The Bad Seeds, released in 2003, whose hypnotic and melancholic power as well as its well balanced intonation of loud and soft sounds — or dark and bright colors — create a link to Heichel's pictorial world.

She explains, «Having run away from seemingly inadequate definitions for abstract painting, I find myself immersed in a relationship that tracks, exchanges, and shreds the world of news, front - page photography, design, and pictorial memory into a subject-less pictorial mash - up.

These distinctive narratives reflect the artist's perception of the real world; her subjective philosophies are expressed via a unique and joyful pictorial language.

Through his distinctive pictorial approach, Erró explores social and cultural contradictions in a world of never - ending consumption.

This watershed period witnessed a flourishing of breakthrough works — such as the present example — in which the artist unfurled a new pictorial language inspired by the natural world and infused with childhood memories of his Armenian birthplace.

«Current Locations» also speaks to these artists» affinity with creating a sense of place (or places): painter Barbara Marks creates voluminous pictorial & interior spaces with her deeply saturated color palette; Elise Church paints intimate environments based on her travels in space in time; Colombian artist, Esperanza Cortés incorporates natural resources and folklore motifs from her homeland as a means of exploring personal identity; Kyle Vu - Dunn sculpts warped «natural» environments to harbor the self; and Viviane Rombaldi Seppey blends world maps (with emphasis on places she's lived) with morbid imagery from traditional medical textbooks.

This exhibition highlights Diana Al - Hadid's unique exploration of art historical references to examine sculptural and pictorial space and convey a world turned upside - down.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

In contrast to the traditional verticality of the renaissance picture plane, which is dependent on head - to - toe correspondence with the viewer, with his combines Rauschenberg introduced the «flat - bed» plane and in doing so completely reoriented the pictorial surface so that it was no longer representative of a world space, but an analogue of operational processes.

Joyce Yu - Jean Lee: As a cross-cultural Chinese American, I think culturally rooted notions of pictorial space can reveal deeper philosophies, world views, or biases of specific cultures.

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.

Against the backdrop of these questions, the group exhibition presents pieces by artists who have grown up with the Internet as well as those produced by an older generation and brings together works that explore, unclose and question pictorial worlds in addition to ultimately creating individual original works with the tools of the digital cosmos.

In the process he would create frames within frames, like the stage flats of a proscenium - arch theatres, as if to dramatise his sense that the feelings he wished to preserve were so fragile they needed this weighty pictorial buffering to shield them from the world.

In fact, his concern for a contained pictorial statement, as opposed to a documentary reflection of the world, more closely aligns him to a painter's artistic practice.

His pictorial vocabulary includes easily readable figures, such as animals with a human character like we know from the world of Walt Disney.

The new works are based on pictorial elements isolated from photographs that Eitel takes on city streets as part of an ongoing investigation of the world surrounding him.

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.

This exhibition highlights Diana Al - Hadid's unique exploration of art historical references to examine sculptural and pictorial space and convey a world turned upside down.

Bernhard Martin has spent the last 20 years creating a unique visual world where lowbrow mingles with highbrow, freedom is defined outside of the system, and pictorial style is determined by the subject matter at hand.

«Since the late 1990s, this Swiss artist (born 1970 in Schaffhausen, lives and works in New York) has produced quotation - rich works, which refer back to the imaginary visual memory of the West and its pictorial worlds.

Gleaned from snaps of red - light establishments sent in by helpful acquaintances all over the world, Sexshops unearths fruitful cues for Tal R's pictorial tics in an Esperanto of the shopfront.

Both Rhapsody and In the Garden are simultaneously a pictorial world unto themselves and a foreshadowing road map of future projects in her career.

natural world is translated into a stark pictorial language of shapes, lines and angles.

Manipulating pictorial and sculptural conventions through fantastically hand - crafted sets and costumes that combine drawing, painting, and collage, Bress creates a disjunctive world where spaces of imagination and representation compete for equal footing.

[11]» Art Historian Robert Hughes vehemently criticized lack of painting, and the «wretched pictorial ineptitude» of the artists, dismissed the abundance of text as «useless, boring mock documentation», and mocked the focus on «exclusion and marginalization... [in] a world made bad for blacks, Latinos, gays, lesbians and women in general.

In 1958 a group of artists came together under the name ZERO with the purpose of heralding in a new beginning in art after the horrors of the Second World War and explicitly opposing the psychologically charged pictorial inventions of Abstract Expressionism.

Also, from the pictorial level, we can establish a certain connection between Chuck Close, Gerhard Richter and Zhang Xiaogang, which enriches the depth of the world of imagery.

Minoliti adds, «I want to make a statement in the need to retake the fantasy land into different perspectives out of the male gaze... I'm also interested in the dissolution of technical and conceptual borders, especially within the heteronormative context of western culture's tendency to divide the entire world into two categories; it's how I began my investigation into the ideas of sex, gender and pictorial genre as they interact within the limited and misogynistic worldview.»

In it, Steinberg declared that by inventing what he dubbed the «flatbed picture plane,» Rauschenberg derived a «pictorial surface that let the world in again» — a bold and profound claim from an art historian who had upon their emergence in the 1950s loudly decried the Combines.2 Implicitly contrasting Rauschenberg's achievement with the conventions of Abstract Expressionism and Color Field painting, Steinberg claims for Rauschenberg not simply a great formal advancement, but one that forced a shift in the discourse of visual art to include once more the social world.