Sentences with phrase «romantic than the artist»

Not exact matches

The thought of a silent movie can be intimidating, but what The Artist doesn't offer in vocal dialogue, it more than makes up for in compelling storyline, wit and romantic bliss.

God is a creator more than a dictator, a sculptor more than a prosecutor, an artist more than a scientist, a romantic more than a critic.

Silver Linings is one of the most charming movies of the decade and a delightful throwback to the zany screwball romantic comedies of the «30s and «40s, a better tribute than the previous years Best Picture winner The Artist.

The painters and sculptors of the Italian Renaissance are most noted for their melding of religion and realism; the Romantic movement in England, appropriately, centered on the artist's individual feelings and motivations while still making the language accessible to the common reader; China's Tang Dynasty allowed art and poetry became more popular among the middle and lower classes than ever before, and while landscapes and nature remained the focal point of most art, increased contact with new foreign countries expanded their own artists» techniques.

Gynaecological instruments superimposed on the surface of the works disrupt traditional Romantic readings and imply a desire for human intervention in the timeless cycles of birth and death... [Kiefer] has been criticised for being theatrical... Yet in this increasingly frightening and unfettered world we need artists like Kiefer... who are prepared to face what is tragic rather than endlessly celebrating what is glib, slick and ephemeral.»

Frequently pigeonholed as the last great English romantic painter in the vein of Constable and Turner, Hodgkin is more incendiary than that — a sunburst of an artist who exploded counterintuitively from a British visual culture temperamentally uneasy at depicting sensuality or expressing intellectual thoughts.

It is a certain kind of groundedness on the one hand, and on the other hand — I won't call it a romantic sensibility — but a willingness to evoke rather than to state, a willingness to use the variable memories of an audience to infuse a given artist's metaphor with content beyond its literal description.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

For Romantics, form was where you search for art's essence; For Symbolists and Impressionists, it was its superior power to convey artist intention; For Abstract Expressionists, it was the raison d'être — for meaning in art, one should look no further than the form.

Highlights include a Turner collection of more than 300 paintings and thousands of watercolours, with considerable space also dedicated to two artists of the Romantic age, Constable and William Blake.

Collection, Cornell Fine Arts Museum, Orlando, FL Commemorating 30 Years (1976 — 2007): Part Three (1991 — 2007), Rhona Hoffman Gallery, Chicago, IL The Blake Byrne Collection, The Nasher Museum of Contemporary Art, Duke University, Durham, NC 2006 Do Not Stack, Roberts & Tilton, Los Angeles, CA Black Alphabet: ConTEXTS of Contemporary African - American Art, Zacheta, National Gallery of Art, Warsaw, Poland Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, New York, NY Hangar — 7 Edition 4, Salzburg Airport, Salzburg, Austria Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, D.C. Relics and Remnants, Jamaica Center for Arts and Learning, Jamaica, NY 2005 Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA Neo-Baroque, Tema Celeste, Verona, Italy Neovernacular, Turner Gallery, Los Angeles, CA Kehinde Wiley / Sabeen Raja: New Paintings, Conner Contemporary Art, Washington, D.C. 2004 Eye of the Needle, Roberts & Tilton, Los Angeles, CA Glory, Glamour & Gold, The Proposition, New York, NY She's Come Undone, Greenberg Van Doren, New York, NY The New York Mets and Our National Pastime, Queens Museum of Art, Queens, NY Beauty, Kravets + Wehby, New York, NY African American Artists in Los Angeles, A Survey Exhibition: Fade, City of Los Angeles Cultural Affairs Department, Los Angeles, CA 2003 Peripheries Become the Center, Prague Biennale 1, Galleria Nazionale Veletrzni Palac Dukelskych Hrdinu 47, Prague, Czech Republic Superreal, Marella, Milan, Italy New Wave, Kravets Wehby Gallery, New York, NY Re: Figure, College of DuPage, The Guhlberg Gallery, Glen Ellyn, IL 2002 Painting as Paradox, Artists Space, New York, NY Mass Appeal, Gallery 101, Ottawa, Canada Ironic / Iconic, The Studio Museum of Harlem, New York, NY Black Romantic, The Studio Museum of Harlem, New York, NY 2001 It's Bigger Than Hip Hop, Rush Arts, New York, NY

In contrast to the universal values espoused by Neo-Classicism, Romantic artists expressed a more personal response to life, relying more on their senses and emotions rather than reason and intellect.

Their deliberately scarred surfaces deliver an unvarnished sense of immediacy, of time marked rather than spent, and most effectively capture the idea of unmediated grief — what it looks like, what it feels like and most especially how it changes everything — suggesting that in such times we are all romantics, experiencing, as these artists did, human emotion in the natural world.

Art history is replete with romantic mythologies, few more potent than the artist as obsessive maker, working round the clock in his studio or in the landscape, as was the case with one of modern art's most famous obsessives, Paul Cezanne, around whom Magnus Quaife's solo show is framed.

Artist Statement «I love romantic stories, but this one, by Thomas Hardy, is about more than the love between two people.

Rather than organize the exhibition chronologically — the work ranges from French Romantic Pierre - Jean David d'Angers» dramatic 1837 gilded bronze rendering of the Greek general and statesman Philopoemen to American artist Kiki Smith's 2005 porcelain Alice - in - Wonderland - like «Woman with Arm Raised» — Chiego decided to frame it in themes embodying ways sculptors have dealt with the human form over the past 200 years.

«Royalists to Romantics is the first exhibition to focus on women artists of this time period in France and demonstrate how they navigated a highly gendered world that presented different opportunities for education and patronage than for their male counterparts,» said NMWA Chief Curator Dr. Jordana Pomeroy.