Sentences with phrase «style of figure painting»

During the aesthetic upheavals of the modernist movement, Neel, mostly on her own as a single mother in Spanish Harlem in New York, insistently kept at her unfashionable, Expressionist style of figure painting, doing portraits of her friends and lovers.

Not exact matches

They're both into high and low fashion: Maezawa is partly responsible for bringing the street style of Harajuku to high - end Japanese retailers, and Basquiat went from dressing like a gutter rat to splattering paint on his five - figure Armani and Comme des Garçons suits.

Paul Jackson Pollock born 1912 in Cody, Wyoming was an influential American painter and a major figure in the abstract expressionist movement well known for his unique style of drip painting.

With no training, she developed her unique style, often labeled as «outsider» or «folk» art, of painting simple figures and covering them with a rhythmic pattern of dripping paint.

Said Landauer about De Forest, «His unconventional style of painting is so profound — he's an extremely important figure in American art.

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

In the following eight years, O'Keeffe studied art and art education, taught art, traveled, and worked on developing her unique style — a blend of symbolism, abstraction, and photography with subjects including cityscapes, landscapes, figure studies, and flower paintings.

DALeast paints animal figures in his signature style using a swirling vortex of organic black lines with white highlights.

It features around 20 figures in several painting styles, with skin colors ranging from ghost white to bright blue to various browns, and a variety of sexual preferences regarding dress, identity and partner.

Pat Steir is an acclaimed figure in contemporary art history, known for her wall drawings and signature style of abstract painting.

Renowned for his unique figurative style and incisive observations of class and sexuality, Bhupen Khakhar (1934 - 2003) played a central role in modern Indian art and was a key international figure in 20th century painting.

Her protagonists (including a figure sporting a rainbow colored afro, and a nimble bikini - clad woman), are painted in a loose notational style, and seem derived from daily experiences (reading the newspaper, eating, getting dressed), advertising (the promise of romantic getaways), and dreams.

Coupled with Joffe's direct and unorthodox sense of characterization, her particular style of painting in turn gives an uncompromising sense of strength, complexity and momentum to the female figures she portrays.

His brittle greeting - card style and indifference to paint are apparent here in works representing some of his best - known series: flayed figures, strutting roosters, scary clowns, stingrays and tarot - card skeletons in Renaissance dress.

Pat Steir is an acclaimed figure in contemporary art history, known for her site - specific wall drawings and signature style of abstract painting.

In the upper section, Lüpertz has painted a torn reproduction of what looks like an Annunciation, perhaps by Nicolas Poussin, but the figures are treated in a style more akin to that of 1940s Picasso.

They are printed with bawdy tales involving a character named Richard and elegant scribbles in the style of market - hot white male artists like Richard Prince (whose own «Joke» paintings can sell for seven figures), Christopher Wool, Michael Krebber and Albert Oehlen.

Where there's little modeling in work by Leon Golub and George Cohen, Lerner's paintings and drawings have always had a sense of volume, and his work since the 1970s has continued to tap similar mythic and metaphorical material (mummies, hanged or tortured figures) but in a more classical figurative style.

In the 1950s, when Abstract Expressionism was still in vogue, Katz broke irreverently away from the wanton brushstrokes of Pollock and de Kooning to begin painting in his signature style — bold, stylized close - ups of elegant figures assembled from intersecting planes of saturated color.

One of the leading figures of Impressionist style, Renoir painted world that surrounded him.

Lisa Yuskavage is renowned for her sexually explicit paintings of female figures with sometimes childlike, manga style faces striking provocative poses.

Characteristic of Takano's painting style, the androgynous figures in On the Night of Departure have circular faces, rail - thin bodies, and eyes without pupils.

His lusciously gestural oil paintings were very loosely based on figures, landscapes and still life compositions and they helped establish what can now be described as a distinctly American style of modern painting.

Utilizing found objects to create an otherworldly yet traditionally based format, the image of a large female figure and its smaller companions are done in the style of traditional Indian painting, while delicate fabrics interweave amongst images that swirl and stream within and outside the two wooden panels — thus making it engaging and contemplative to look at.

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, Lucpainting 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, Lucpainting (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, LucPainting: 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, LucPainting 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, LucPainting 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, Lucpainting 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, Lucpainting 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, LucPainting 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, Lucpainting 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

Combining traditional painting techniques with contemporary design and illustrative styles, Barton's paintings are simultaneously unnerving in their otherworldly depictions of the figure and charming in their intense ornamentation.

This exhibition shows the development of Andersson's recognisable painterly style in sensuous new paintings populated by ghostly figures amid dreamlike interiors and seemingly calm vistas.

Gerstl was an extremely original artist whose psychologically intense figure paintings and landscapes constitute a radically unorthodox oeuvre that defied the reigning concepts of style and beauty during his time.

The Chan buddhist painter Liang Kai (梁楷, c. 1140 — 1210) applied the style to figure painting in his «Immortal in splashed ink» in which accurate representation is sacrificed to enhance spontaneity linked to the non-rational mind of the enlightened.

He blended the artistic styles of his adopted countries with those of Africa, creating mythical hybrid figures — combinations of animals, plants and humans — in large - scale paintings.

Best known for his urban landscapes and his distinctive style of painting the human figure, defined as «matchstick men», the extent of his production was only recognized after the artist's death.

Andrew's clean style and meticulous attention to composition puts the viewer in the place of a figure in the painting.

Both are painted in a style typical of Etty, with a strong background colour allowing a contrast with the flesh tones of the figure.

The Mete of the Muse (2006) contrasts two bronze figures — a white - painted nude in the Greco - Roman style and an Egyptian figure with a black patina.

Belgian painter Luc Tuymans (born 1958), one of the key figures in the 1990s revival of figurative painting, is also one of contemporary art's great history painters, tackling historical traumas and their representations in a restrained — though resolutely painterly — style and pale, muted palette.

These are accompanied by a suite of early paintings that reflect Golub's study of antiquity, a group of unsettling portraits of the Brazilian dictator Ernesto Geisel, and works on paper that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated.

Because of his original style of thickly textured portrait and figure paintings, he is widely considered the most superior British artist of his time.

In Bad Medicine, for example, grizzly bears invade a housing development while a grotesque figure painted in the style of Francis Bacon squirms on the curbside.

In a series of hand - painted and collaged monoprints on view through March 2 at Pace Prints in Chelsea, Hammond redefines a Renaissance - style room with a checkerboard floor framed by arches, which she has populated with her eccentric company of stock objects and figures — including a jester, a bear, and Einstein wearing a bear costume.

For her first solo exhibition in Italy, La Kermesse Héroïque, the Brussels - based Lucy McKenzie has made a group of new works, including mural paintings on canvas, painted objects, sculptures and figures - combined with elements of decor (such as lighting and furniture) to explore the relationship between style, ideology and value.

An important figure in early 20th century American art, the painter and photographer Charles Sheeler was - along with Charles Demuth (1883 - 1935)- the leading exponent of Precisionism, a style of architectural painting that combined the hi - tech aesthetics of Futurism with the sharp geometrics of Analytical Cubism in the depiction of factories, power stations, warehouses and other industrial plant, of the new technological age.

Enormous cherry still lifes and loony faces, macabre chorus lines of legs, hapless - looking Ku Klux Klan figures: These paintings deliver a sardonic commentary on art, art - making, politics and life that never goes out of style.

The style was exemplified by the plein air painting of Monet, Sisley, Renoir and Camille Pissarro, although other painters were also part of the Impressionist group, including Edgar Degas, Paul Cezanne, Frederic Bazille, Gustave Caillebotte, as well as Mary Cassatt, one of the leading figures of the American Impressionism movement (c.1880 - 1900).

Jones» principal aim here is to demonstrate that Bay Area figuration constitutes a coherent movement, rather than having been an accumulation of isolated individuals who saw Abstract Expressionism as a moribund, even alien style and who simply began to paint recognizable figures as an antidote.

San Francisco based artist Zio Ziegler (covered here) has an eclectic style; a few of his pieces portray Cubist figures, some more detailed than others, and then there are his more color - based paintings.

Roy Lichtenstein's (1923 - 1997) paintings, drawings, prints and sculptures based on the style and imagery of comic strips and illustrated advertisements made him a defining figure within American Pop art.

Though he is now a seminal figure of Pop art, Roy Lichtenstein was a relatively unknown artist until his mid-30s when he created his first «comic - strip style» painting.

«Abstract expressionism was the going style then, but Oliveira's lonely figures were painted in a new way, using vigorous brush work and finding the figure in the process of painting it,» Selz says.

As is explored more fully elsewhere in this In Focus, Kline associated himself near the end of his life, as early in his career, with a doomed, tragic figure in Meryon — except not a puppet or a dancer playing a puppet but rather a master of etching.42 In Meryon Kline identifies the figure of Meryon with his own style of painting.

Can you describe how you attained this style of painting, where lines are rare and boundaries blurred, colors are often over-exposed and you closely zoom in on your scenes and figures?