Sentences with phrase «reference classical painting»

Not exact matches

No longer setting a stage for a dystopian lifestyle borne by the delusions and failures of the Soviet system, the paintings on view are referencing Soviet visual representation and its history by juxtaposing, in fragments, hypothetical subjects from Soviet life and classical or baroque mythology.

There's copious amounts of invisible history to this project including references to 12 classical paintings of the Venetian cityscape, a recent tsunami in the Maldives, and the reliance the nation has on the fruit.

He has already achieved international recognition for his highly naturalistic paintings of contemporary urban men adopting heroic poses directly referencing classical portraiture.

Born in 1977, Wiley has already achieved international recognition for his highly naturalistic paintings of contemporary urban men adopting heroic poses directly referencing classical portraiture.

Kehinde Wiley is known for his naturalistic paintings of contemporary urban men adopting heroic poses that directly reference classical portraiture.

Morton reviews works from Gérôme's entire career - the early «Néo - Grec» paintings with references to classical antiquity, historical scenes, Orientalist genre paintings, and his late focus on sculpture - to make the case for his spectacular art.

Rooted in the craft of sculpture and paint, it rises from intertwining everyday objects in all possible and surprising ways, but still with a formal reference to the history and tradition of classical art.

[6] The show was well received by critics, including Frieze Magazine [14] and The Brooklyn Rail, noting «Quaytman makes reference in the title to both the seat of seeing (i am), and the classical meter of poetry», and «Quaytman's sophisticated dissection of the complexities of seeing and the manifold aspects that inform perception is evident not only in individual works, but also in the relationship between specific works installed in the exhibition, and in the cumulative effect of the whole,» [13] and the New York Times «The paintings in R. H. Quaytman's exhibition are cerebral, physically thought out and resolutely optical.

He is most well known for his large paintings populated with scribbled marks, calligraphic or graffiti - like words, letters, numbers, and references to Classical culture.

He references nature, literature, classical history and mythology through poetic, gestural painting and abstracted sculptures.

This clean, well - installed exhibition included her wildly patinated bronzes, from small figures to giant heads, with references ranging from painted classical sculpture to Donatello (especially his Mary Magdalen), from the Art Deco designer Erté to Jean - Léon Gérôme.

The artist is aware that many of the references contained in the paintings will be unknown to audiences, unlike classical mythology which has been extensively used in European painting.

The second part of the exhibition includes works by artists programmatically - following academic painting of the 19th century, and references to classical painting firmly tied to the Renaissance heritage.

During the early 1960s, following his first showing at the New York gallery of Leo Castelli (1907 - 99), he began to include more colour in his painting, together with numerous classical references (Leda and the Swan, the Birth of Venus) and scatological imagery, a process which peaked in the «Ferragosto paintings», as well as his series entitled «Nine Discourses on Commodus» (1963), a portrait of the power - crazy Roman emperor created under the influence of works by Francis Bacon (1909 - 93).

His idiom combined «low» art methods (graffiti - like pencil / crayon doodlings; all - over painting technique) with «high» art references to Classical Antiquity (reminiscent of Arte Povera), the Italian Renaissance and French Neoclassicism.

The paintings are contemporary in voice with classical references.

Contemporary painting is unabashed about borrowing, whether using and referencing elements form classical painting for design or integrating found materials.

Formally, the pieces recall classical sculpture and modernist and Pop Art painting, referencing works by the likes of Matisse, Wassily Kandinsky, Cy Twombly and Andy Warhol.

Primarily in color and often large - scale, the photographs reference everything from classical painting and avant - garde cinema to science fiction illustration and Alfred Hitchcock.

In jarring juxtapositions of contemporary, modernist and retro - futuristic motifs within classical landscape compositions, Ged Quinn's large scale paintings combine anachronistic references to art and literature with the strong traditions of landscape and still - life painting.

His Patagonia pictures — referencing romantic landscape painting — employ classical compositions.

According to Tate Modern, this success allows Wall to reference «both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting.

The paintings teeter on the edge of craft by referencing quilting and decorative arts, yet also recall classical spiritual or religious imagery.