Sentences with phrase «shared by painter»

Her dedication to abstraction reflected a belief shared by painter Norman Lewis that modern art at its best could transcend political and historical concerns.

The artist inserts herself invisibly into the frame, bearing witness through achingly specific details — a trait shared by another painter of Harlem denizens, Alice Neel.

Not exact matches

In the first image of Fanny (Abbie Cornish), seated by the window sewing in the early morning, she might almost be one of Vermeer's women, serenely absorbed in domesticity, the exquisite composition sharing the painter's fascination with natural light and space.

In the exhibition, 23 - year - old Chicago artist Darius Airo's bright, poppy paintings will be displayed near classics by the influential painter Ed Paschke, and whimsical semi-figurative works by the recent School of the Art Institute of Chicago M.F.A. graduate Jenn Smith will share space with those of Hairy Who founding member Jim Nutt.

Soon after the opening reception of his survey at Yale University's Edgewood Avenue Gallery, Malcolm Morley In A Nutshell: The Fine Art of Painting 1954 — 2012, curated by Robert Storr, Dean of the Yale School of Art, (January 31 — March 31, 2012), and Malcolm Morley: Another Way to Make An Image, Monotypes at Sue Scott Gallery (January 11 — February 19, 2012), publisher Phong Bui made a trip to Brookhaven Hamlet, Long Island, New York to visit the painter's home / studio, a former church he has shared with his wife Lida Morley since 1986.

These painters he has assembled share in pictorial values that get neglected by the mainstream art media, or worse call it retrograde and anachronistic.

(preview by critically acclaimed videographer / occasional painter, Nick Ward) «Every spring, the artists and craftspeople of South Boston open their doors to share their work and their studios with the community.

Texas - based painter and draftsman Vincent Valdez will discuss his art and shared interests in American race relations, politics, and culture in the context of the work on view by artist Rodney McMillian.

The Houston - based figurative painter's solo show was inspired by Vance's current living situation, a 4 - plex apartment building shared by three other single women who can often hear each other through the thin walls.

Human Animals: The Art of Cobra The exhibition reexamines the unique meeting of a group of young painters and poets brought together by an optimistic determination to start over after the war and a shared interest in spontaneity and myth, as well as folk art and children's art.

The exhibition reexamines the unique meeting of a group of young painters and poets brought together by an optimistic determination to start over after the war and a shared interest in spontaneity and myth, as well as folk art and children's art.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

This idealism was shared reciprocally by painters, sculptors, and architects alike.

Accordingly, an Albrecht Dürer print of the «Veronica cloth» bearing the image of Christ's face is juxtaposed with an anonymous «subway portrait» by Walker Evans; a self - portrait by painter Raphael Soyer shares the space with a self - reflexive photograph by Laura Letinsky; and H. C. Westermann's autobiographical Korea sculpture stands in as a reminiscence of his service in that war.

Paintings by the Italian artist will be shown alongside works by Old Masters painters who have inspired Samorì, revealing how the artist shares with them an idea of creating something new out of what already exists by means of artistic transformation.

These dual dimensions were detected by painter Robert Motherwell in Kline and his work: «Franz projected as a person the sense of a man who was trying to save his own soul through his gift, and that he wanted to share this possible miraculous event with you.

Twenty years ago Philip Pearlstein was a painterly painter approaching 40, with a career that had already spanned 20 years and encompassed prizes in two consecutive Scholastic Magazine National High School Art Exhibitions, a stint in the army, a bachelor's degree from Carnegie Institute of Technology, a bachelor apartment in New York shared with Andy Warhol, marriage, inclusion in an «Emerging Talent» show assembled by Clement Greenberg, a master's degree in art history from New York University (thesis on Picabia), a trip out West, a summer in Montauk, another in Maine, writing for art magazines,

The inevitably inconclusive and problematical relationship between shared American and British influences in Contemporary art (leading to Abstraction in the 1950s / 60s) is, perhaps, still unresolved — at least for those of us who are still enthralled by Patrick Heron's take on the relationship between the New York School and the St.Ives painters.

The painters who came to be called «Abstract Expressionists» shared a similarity of outlook rather than of style — an outlook characterized by a spirit of revolt and a belief in freedom of expression.

Sheba Sharrow (1927 - 2006), a painter from the «Chicago School» and a colleague and contemporary of Nancy Spero and Leon Golub who shared themes, social concerns and an expressionistic style with these artists will also be featured by Accola Griefen.

He is much admired by other painters — Peter Doig curated a show of his work for their shared gallery, Michael Werner, in London last year - but perhaps because he is less easily defined than some of his contemporaries, Lüpertz has not been given the same exposure in museums.

Early in her career, Ristvedt shared a Toronto studio with painter Jack Bush, met art critic Clement Greenberg and was inspired by American painters Jules Olitiski and Frank Stella.

I wanted to share this recent interview with painter and MMFA artist JULIE HEFFERNAN that was recently published by the McDowell Fellows online magazine «Between Two Pines ``.

He was then living in Cleveland, but by 1866 he had moved to New York City, eventually sharing a studio there with his brother Morston, also a still - life painter.

The exhibition presents a history of the Cobra movement through paintings, sculpture, prints and primary documents by artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant and Corneille, and reexamines the unique meeting of the group of young painters and poets brought together by an optimistic determination to start over after World War II, a shared interest in expressionism, myth, folk art and the art of children.

His friendship with renowned painter Kent Williams found the two sharing a studio for a time, painting side by side.

They included: the Irish - born George Frederick Folingsby (1828 — 91), who arrived in Australia in 1879 and became Master of the School of Painting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 — 1932).

Interestingly, this is a view shared by Karen Wright, editor of Modern Painters, who told me, «Schnabel brings to mind Martin Amis: all that early acclaim when he burst on the scene, then the backlash, with everyone going, «why him?»

Sullivan Goss presents a selection of new work by three painters who share a a rare sensitivity to light and mood: Robin Gowen, Jon Francis and Sarah Vedder.

BS I remember fantasizing with the painter David Humphrey about how we could buy the painting together and share it by taking turns and each having it six months at a time.

Frankenthaler's ambivalence about being a female painter is shared by her successors, several of whom offer appreciations of her oeuvre.

However, starting in 1836 and for seven consecutive years, beginning with Descente des Vaches, his compositions were rejected by the jury, made up of academic painters who did not share Rousseau's new aesthetics.

Showing me one of his black - and - white paintings from the late 1950s, he told me that his self - doubt was shared by many New York - based painters as the»60s progressed.

In the show Chamberlain / de Kooning, currently on view at the Mnuchin Gallery in New York, 12 sculptures by the artist John Chamberlain (1927 - 2011) share space with seven works by his peer, the painter Willem de Kooning (1904 - 1997).

Think of the shared camaraderie of transcendental poets and painters, of Ralph Waldo Emerson's «transparent eyeball» mesmerized by Martin Johnson Heade's sublime luminist light.

Another lamp by Stephen Antonson for West Elm shares space with an antique Rorschach print from Eye Level and an adorable painting of a Bennett's now - deceased bulldog «Grizzie» by the daughter of a decorative painter Bennett has worked with over the years.