Sentences with phrase «poetic compositions of»

At Kouros, a group of rarely seen canvases and watercolors from 1947 - 48 deals with organic, floral and undersea forms, in poetic compositions of luminous color.

In poetic compositions of vibrant color and organic form, Suzanne LaFleur evokes the serene atmosphere of summer retreat in her newest work now on display at Lawrence Fine Art through August 18.

She seeks a poetic composition of colors that create an emotional experience for her viewers.

Not exact matches

The poetic composition claims a role that exceeds the power of perception, a concept that allows us to arrive at infinity.

It would have been more poetic to choose the Tower of Pisa for his thought experiment: Galileo, in his own legendary experiments there — truly legendary, because he probably never actually did them — had shown that objects of different mass and composition are equivalent in that they undergo the same gravitational acceleration.

The White Ribbon's blend of formal, poetic compositions and hushed, simmering drama reminded me variously of Malick and Bergman, and if the picture finally does not quite achieve the level of a masterpiece, this may be down to the fact that I've always found Haneke to be a cold, stern and aloof director; the creator of films that I can admire but never love.

In 2008, the Pulitzer Prize jury awarded him a special citation for «his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.»

For more than two decades she has been making poetic and poignant compositions combining text and imagery, exploring a wide variety of subjects, including writing, procrastination, the banality of life, failure, success, pride, self - doubt, motherhood, pedagogy, institutional critique, class, music, literature, poetry, philosophy, art, sadness, and relationships.

Amplifying the poetics of the everyday, the marginal and the overlooked, Fyfe increasingly repurposes found materials — a child's kite, a discarded sign, or an abandoned banner — into his near - abstract compositions that are informed as much by serendipity as they are by any kind of high - minded formalism.

The poetic decision of each gesture and composition is foregrounded.

As Perriand's biographer Jacques Barsac explains, «the Free - Forms themselves demonstrated a poetic functionalism on the human scale in which each form was rigorously tailored to its use and its production method, while retaining a freedom of composition.»

With great attention to the range of the chosen materials and a nuanced sensibility for composition, Wurtz has been since the early works transforming fragments of the ordinary into sculptures of wit and poetic composure.

Her poetic canvases, vast semi-abstractions in which mosaiclike patches of color were linked by lines into labyrinthine compositions, interested artists of the American Abstract Expressionist school, who first saw her work in New York in 1946.

The exhibition presented a diverse landscape of masterpieces from the museum's collection that incorporate poetic inscriptions in their composition or have direct relationships to America's rich poetic traditions.

The exhibition brings together more than two decades of Stark's poetic compositions and autobiographical reflections, featuring 125 works, including the artist's early carbon drawings, intricate collages, and mixed - media paintings as well as her more recent videos.

Wellington's compositions are rendered in a mythic and poetic vernacular and his worlds and images are loaded with layers of painted metaphor.

[18] A 2006 essay described the book as «a three - way game that plays the text and illustrations for an introduction to Euclid against Woodman's own text and diagrams, as well as the «geometry» of her formal compositions,» [37] while a 2008 article found the book «poetic and humorous, analytical and reflexive.»

Foreword by James Rosenquist vii Preface by Ira Goldberg viii Acknowledgments x Introduction: Miracle on 57th Street 1 Part 1: Lessons and Demos 15 Henry Finkelstein: On Painting, with a Critique 17 Mary Beth McKenzie: Painting from Life 27 Ephraim Rubenstein: Painting from Observation 39 Thomas Torak: A Contemporary Approach to Classical Painting 59 Dan Thompson: Learning to Paint the Human Figure from Life 75 Sharon Sprung: Figure Painting from Life in Oils 91 Frederick Brosen: Classic Watercolor Realism 107 Naomi Campbell: Working Large in Watercolor 123 Ellen Eagle: Poetic Realism in Pastel 135 Costa Vavagiakis: The Evolution of a Concept 148 Part 2: Advice and Philosophies 165 William Scharf: Knowing that Miracles Happen 167 Peter Homitzky: Inventing from Observation 181 Charles Hinman: Painting in Three Dimensions 193 Deborah Winiarski: Painting and Encaustic 203 James L. McElhinney: Journal Painting and Composition 213 Part 3: Interviews 229 Frank O'Cain: Abstraction from Nature 231 Ronnie Landfield: On Learning and Teaching 251 Knox Martin: Learning from Old and Modern Masters 269 Concours: Painting and the Public at the Art Students League by Dr. Jillian Russo 282 Index 286

Using several media, from collage to performance, she explores the sensual and formal properties of everyday objects and materials (venetian blinds, fans, infrared detection devices, etc.), taken out of their original context and rearranged into abstract compositions, investing them with a new, poetic meaning with political or emotional overtones.

Scanning the table of contents is like flipping through a course catalog: do you want to take Naomi Campbell's «Working Large in Watercolor,» James McElhinney's «Journal Painting and Composition,» Sharon Sprung's «Figure Painting from Life in Oil,» or Ellen Eagle's «Poetic Realism in Pastel»?

Each of the six artists will present works aligned with the methodologies or interests inherent to the poetic process, lending a lyrical sense to both material and object by using a mix of individual abstract language and intuitive composition or gesture.

Noting her «complex, highly poetic pictorial compositions based on the structures and settings and shifting light» around «windows and doorways,» our late colleague Hilton Kramer rightly championed Dodd as among the «class of highly accomplished American painters whose work has been consistently rejected by the New York museum establishment.»

Frankenthaler's poetic line drawing is at once met with warm saturated hues, tempering a composition of free spontaneity combined with thoughtful control.

Through the long process of nding the image from within, the artist channels brooding qualities from Courbet's mysterious Cave paintings and poetic compositions by Albert Pinkham Ryder into her own lush, multi-layered surfaces.

The artist is known for his photographs that transform ordinary subject matter into distinct, poetic images through his distinct use of color, form and composition.

The verdant green and cerulean blue along the bottom are complemented by the earthly tones of ruby and peach that dominate the central composition and conjure a spring sunrise, altogether resulting in a poetic and dynamic exploration of how color and form can expose the unlimited space between imagination and memory.

Although trained in philosophy, her abstract compositions contain a more poetic quality, their rhythm and warmth unbound from the rigors of formal thought and located more in sensory experience.

Whitten's poetic and physically compelling compositions reinvent the medium of painting time and again — from his series of small «ghost» paintings of the 1960s, his smeared test slabs and dragged canvases of the 1970s, and his collaged acrylic «skins» of the 1980s to his more recent tessellated constructions of paint tiles.

The exhibition presents a diverse landscape of masterpieces from the museum's collection that incorporate poetic inscriptions in their composition or have direct relationships to America's rich poetic traditions.

While the exhibition at the Alexandre Gallery is hardy the Dodd retrospective we needed, it does have the great virtue of giving us a concentrated account of one of the artist's most inspired inventions: the complex, highly poetic pictorial compositions based on the structures and settings and shifting light to be seen in and around the windows and doorways of old Maine houses.

From his first spectral canvases, as a graphic trace of a haunted soul, to his recent app for Obama, a key for complex, contemporary life, Whitten's poetic and physically compelling compositions capture what is needed, what is left, what is remembered, and what is next.