Sentences with phrase «social realist artist»

An instructor at the school, the social realist artist became a mentor and friend.

Social realist artists identify with the downtrodden sectors of society, workers, farmers, laborers, and use their work to draw attention to the living conditions of these classes.

Not exact matches

Keeping It Real Beijing artist Liu Xiaodong's expressive realist portraits, touching on some of the most vital social problems in China, have brought him respect in his home country — and a high level of visibility internationally Barbara Pollack

This early contè crayon drawing is a strong addition to WCMA's collection of American art and the first major social realist work by an African - American artist before 1950.

And by 1964, with Race Riot, «Andy Warhol establishes himself as the most relentless of social realist and social protest artists the country has produced.»

The exhibition begins with the artist's earliest drawings, made in Los Angeles while studying at Otis College of Art and Design under the legendary social realist painter Charles White.

(A pendant show here, Kerry James Marshall Selects, offers a revealing glimpse of the artist's sources and inspirations: a stern portrait from the workshop of Hans Holbein, flowing figure studies by Veronese, a social - realist lithograph by his former teacher Charles Wilbert White, and a photograph of Gerhard Richter's wife, smudged with paint.)

East German artists, on the other hand, were forced to adopt a social realist style based on Soviet models.

Painted between 1943 and 1978 in Neel's inimitable style — half social realist, half wonky Expressionist — the paintings and drawings of her uptown friends, neighbors, colleagues and fellow travelers form a remarkable montage of the artist's life in a vibrant, multicultural 20th - century New York.

One train of thought defines the British painter Edward Burra as a satirist and connects him to the production of the German artist Otto Dix, while the other views him as a social realist due to his sharp and distorting eye of the human nature, and landscape.

While some artists such as Gorky and Guston can be said to have been responding to social upheaval and ethnic violence, the historical engagement of the Social Realists has been replaced by introspection and metsocial upheaval and ethnic violence, the historical engagement of the Social Realists has been replaced by introspection and metSocial Realists has been replaced by introspection and metaphor.

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 TSocial 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 Tsocial and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Guerrero Z. Habulan is a figurative artist born in Philippines, a young social realist with a sharp sense of humor.

Philip Guston was a painter and printmaker who began as a social realist painter, associated with the mural movement involving artists such as Diego Rivera and working for the Works Progress Administration's Federal Arts Project in New York City during the 1930s.

Inspiration for the Social Realists came from the Ashcan School (many of them had studied with Ashcan artist John Sloan at the Art Students League in New York) and from the Mexican murals pioneered by Gerardo Murillo (1875 - 1964).

There was always this combat between the social realists and the abstract artists.

Along with Pietro Consagra, Achille Perilli, and Giulio Turcato, in 1947 he helped formulating a manifesto and establish a group of abstract artists called Forma I. Although imbued with socialist leanings, the group did not follow the realist social commentary furthered by Guttuso but proposed to reclaim abstraction from the Futurism movement.

On one side: the Ashcan School, social realists, abstract expressionists, surrealists, action painters, color field artists, Op Artists, minimalists and postmodeartists, Op Artists, minimalists and postmodeArtists, minimalists and postmodernists.

Over the course of nearly two decades (1931 — 49), Levy exhibited contemporary photography and works by Surrealists, Cubists, Social Realists, and Neo-Romanticists, such as British artists Paul Nash and Henry Moore; he also screened experimental films and showed posters, cartoons, and original watercolours by Walt Disney, which would have been characterized as «low» art forms.

Muller, through gallery shows, has helped build the careers of American realist painter John Register, sociopolitical conceptual artist Gottfried Helnwein, social portraitist Robert Crumb and narrative painter Mark Stock, to name a few.

Alexander Deyneka (1899 - 1969) Social realist painter, graphic artist, sculptor • Ceiling mosaic at Mayakovskaya, Moscow metro

The best artists Johnson finds in the show, like Hammons, must continue to toe the line between Duchamp and a social realist like Romare Bearden in order to be recognized in the mainstream art world.

Depicting themes and settings as varied as bar scenes, motherhood and the plight of the artist, New York — based artist Nicole Eisenman (born 1965) fuses contemporary subject matter with art - historical influences ranging from Renaissance chiaroscuro to twentieth - century social realist painting.

With the conscience of a social realist, he painted as an Abstract Expressionist, drawing inspiration from a circle of artists that included both Romare Bearden and Ad Reinhardt.

Although extremely different artists, one a realist painter, the other not faithful to any particular movement, Hennessy and Rama both explore human sexuality, gender and identity while challenging the political and social culture of their time.

Fusing centuries - old art - making conventions and a multitude of art historic influences — including impressionism, German expressionism, and twentieth - century social realist painting — with contemporary subject matter, she depicts settings and themes as varied as bar scenes, motherhood, and the plight of the artist.

This individuality left him somewhat vulnerable to obscurity in an art market that expected black artists to adhere to social realist portrayals of African American everyday life.

Executed in social realist style, it is almost unrecognizable as being by the same artist as the one whose work formed this exhibition at the same museum.

Under the influence of Ashcan School artists, Ribak's early social realist work veered towards the documentary as he depicted boxers, miners, and even international communities being afflicted by Fascist regimes.