Sentences with phrase «saw piero»

The first time I saw Piero Della Francesca, Philip Guston, Josef Beuys, Bruce Nauman, Ross Bleckner, Rebecca Horn, Mathew Barney, Jeff Wall, etc., I remember each experiential encounter — where I was standing, how old I was and in what solo museum show.

[See Piero Madau, «Trouble at First Light,» Nature, Vol.

I went to see Piero della Francesca's The History of the True Cross.

Not exact matches

So, casting an eye down Italy's list, we see a 22 - year - old Alessandro del Piero, who would win 91 caps for his country, alongside journeyman sweeper Stefano Torrisi, who'd pick up just the one.

Heidi Alexander was first to resign, followed by Ian Murray, Gloria de Piero, Lilian Greenwood, Lucy Powell, Kerry McCarthy, Seema Malhotra, Vernon Coaker, Charlie Falconer, Karl Turner and Chris Bryant (see below).

Use the map tab to see the location of hostels in San Piero a Sieve.

Pollock asked to be tested by the same eye that could see how good Raphael was when he was good or Piero when he was good.

You can see the influence of Masaccio's monolithic figures in Guston's early figurative work, and he especially revered Piero.

The painting is peppered with subtle allusions: a book on Chardin sat on the bottom shelf of the wheeled cabinet hints at the French master's domestic scenes, while Piero della Francesca's Baptism of Christ is seen reflected in the small mirror.

A photographic montage seen on a wall label illustrates what Piero's altarpiece — or significant portions of it, anyway — might have looked like.

And familiar masterpieces have been given a new power to stun, notably Piero della Francesca's majestic «Virgin and Child Enthroned With Four Angels,» the greatest example of this Renaissance artist's work in this country and was seen at the Frick Collection last year.

Close up on Rockburne's drawings, «Piero's Sky» and «Particle and Wave,» we can see the rough surface and dense materiality of an image that looks light and airy from a distance.

Lining the floor of Jablonka Galerie's booth — here seen underneath a new Ross Bleckner painting — these 70 cans of white radiator enamel literally grounded the display with a clever installation piece that could be seen as invoking anyone from Piero Manzoni to Cady Noland to Duchamp to, hey, Darren Bader.

The earliest pieces — explorations in geometric forms, like lines drawn in space and painted in the offbeat colours that he first saw in the work of Piero del la Francesca — are reminiscent of those that were being made simultaneously in the United States by John McCracken and Donald Judd, though the Italian only became aware of their existence when he travelled to New York in 1970.

Suffocated by the polyurethane of his «nature - carpets,» Piero Gilardi became aware of existential urgency that led him, in 1966 (the «inhabitable art» exhibition with Gian Enzo Sperone), to the realization of objects that are no longer a mediated or mimetic concretization of his functional and instrumental modes of behavior: we find ourselves faced with his pack - saddle, his wheelbarrow, his saw, his ladder.

The scale was based on Piero della Francesca's «Flagellation of Christ,» which is one of my favorite paintings, although I have never seen it in the flesh.

And I remember seeing also a postcard of Piero della Francesca, you know, the Arezzo mural of Christ coming out of the tomb.

Howard Rachofsky, a Dallas - based collector and former hedge - fund manager, saw an opportunity in postwar Italian art more than decade ago and began chasing undervalued names including Lucio Fontana, Alberto Burri and Piero Manzoni.

These paintings often have a seen - before familiarity; their themes include Depositions, bacchanals, Nativity scenes, Last Judgments and numerous Greek myths, portrayed in compositions drawn from Poussin, Piero, Goya and Titian.

A similar tendency can be seen in Piero's fresco cycle in the church of San Francesco in Arezzo.

Usually the web of connections isn't so explicit, but they are always implicit, packed into the work itself; in Lisa Yuskavage's or Dana Schutz's or Carrie Moyer's paintings, you see all kinds of historical references (whether to Piero della Francesca or Ernst Kirchner or Jules Olitski), kinship with their contemporaries, and interest in a million other images and experiences that do not belong to painting.

The cover reads Piero Manzoni: Life and Works under the name Ies Petersen, leading the viewer to see the work as a text of criticism of biography.

In her hospital drawings of surgeons at work in the early 1950s we can see the fluency and caress of similar rhythms; and we can easily understand why she was so drawn to Piero della Francesca as well as to the paintings of Mondrian and the sculptures of Brancusi.

Examples of the artist's most recent new departure can seen in Reconstructing Seurat, 2004, and Deconstructing Piero, 2005, based on two of his favourite historical paintings — Georges Seurat's The Bathers at Asinéres and Piero della Francesca's The Flagellation.

I have been a fan of Balthus for years and when I saw Virgin and Child Enthroned at the Clark I felt the connection to Piero della Francesca immediately.

It was also the first time I saw in person the work of Giotto, Massaccio, Piero della Francesca and other Italian painters.

Italian Renaissance art historian for the University of Amsterdam Machtelt Israels observes the influence that the della Francesca household had on the realistic sense of space and architecture seen in Piero della Francesca's polyptychs and frescoes.