Sentences with phrase «such early twentieth»

Such qualities link it to such early twentieth - century movements as Cubism.

Not exact matches

Such flowery verbiage is not unusual at National Cathedral, conceived early in the twentieth century as an American version of Westminster Abbey to enshrine the spiritual achievements of American Christianity, statecraft and civil religion.

While some of this is fair comment, such de haut en bas defense would convince more if Dinshaw showed a firmer grasp on the historiographical context of Runciman's work, not least his reliance on French scholarship of the nineteenth and early twentieth centuries.

Hollinger thinks our intellectual culture would be healthier if we had today people such as Robert Ingersoll, a brilliant atheist who in the early twentieth century toured the country lambasting religion.

For like Whitehead and Dewey, Kadushin understood that the concept of organic thinking offered an approach to logic and the foundations of knowledge that was an alternative to the perversions of the sort of blind faith in natural science that had come to dominate the intellectual cultures of the late nineteenth and early twentieth centuries; an alternative that did not attempt to devalue science or replace it with a nonrational mysticism, but which did attempt to place scientific thought into a broader cultural context in which other forms of cultural expression such as religious and legal reasoning could play important and non-subservient roles.

These theological giants in the early and middle twentieth century rescued preaching from what E. M. Forster once called «poor chatty little Christianity,» and, along with their more recent successors such as Ebeling and Fuchs, took Word primarily to be explosive, confrontative power.

Crawford situates Wahhabism in the second part of the twentieth century within what he terms the formation of «hybrid» radical groups — Al - Qa «ida and ISIS, but also earlier groups such as the Awakening movement that took shape in the early 1990's that «infused [Wahhabism] with new ideas» and «drew the line between belief and unbelief at new points on the religio - political spectrum.»

Americans in the early twentieth century were still becoming acquainted with mass advertising, which was designed to create new needs where none had existed before, such as for mouthwash or deodorant, or to promote products, such as baby food, that responded to and enabled a more fast - paced life brought on by technological innovation.67 With the mass production and advertising of goods, memorable packaging and branding became an essential part of the product, «an integral part of the commodity itself,» as one business executive noted in 1913.68

Neurologists had presented case studies of «acalculic» patients such as CG from the early twentieth century onwards, if not before, but «people hadn't thought a lot about the specific brain areas involved in calculation», says Butterworth.

Inspired by newspaper stories from the last four centuries, Donoghue's masterful short story collection explores the unexpected in people's lives in such varied settings as Victorian England, Civil War — era Texas, and early twentieth - century New York City.

Some buildings, such as the Emily Morgan Hotel, Gunter Hotel, the Nix Medical building, The AT&T Building (105 Auditorium Circle), Drury Hotel, and Tower Life Building date back to the early to mid twentieth century, and are considered national or state landmarks.

French artist Caroline Achaintre's visually striking, witty ceramic sculptures and hand - tufted wall hangings bring together a whole host of references such as catwalk fashion, carnival, and death - metal iconography, as well as Primitivism and Expressionism — early twentieth - century Western art movements that borrowed heavily from non-Western and prehistoric imagery to find new ways of representing the modern world.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

«The Whitney Museum's revelatory survey of the work that earned O'Keeffe such derision, the evocative, more - or-less abstract art she made starting in 1915 — phenomenally early for an American artist — should reopen eyes to an undeniable fact: O'Keeffe produced some of the most original and ambitious art in the twentieth century.»

Artists returned to emotional content conveyed through instinctual mark - making, subjective color, and distorted forms, as found in early twentieth century Expressionist movements, such as Fauvism, Die Brücke and Der Blaue Reiter, and in abstract forms in mid-twentieth-century Abstract Expressionism.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

Although this artistic technique, in which materials are cut, torn, and layered to create new meanings and narratives, gained acclaim in the early twentieth century through the groundbreaking work of such artists as Pablo Picasso, Georges Braque, Kurt Schwitters, and Jean Arp, it experienced a renaissance (particularly in America) after World War II.

The diverse works on view include rare early pictures, major examples of the Pictorialist art movement by figures such as Peter Henry Emerson and George Seeley, and a broad range of twentieth - century art and vernacular photographs.

Our modern notion of collaging, or papier - collé (French for glued or stuck paper), was ignited in the early twentieth century by artists such as Pablo Picasso (1881 — 1973) and Georges Braque (1882 — 1963), who incorporated various text, photographs, found objects, and paper into works of art, resulting in an entirely new medium.

Pettibon's literary quotations, however, come less from the kind of pop culture that provides much of his imagery than from the heady realm of nineteenth - and early - twentieth - century writers such as Nathaniel Hawthorne, John Ruskin, Henry James, and James Joyce.

Murray's work builds on the legacy of early twentieth - century Modernist movements such as Cubism and Expressionism, funneling them into her own language that is equally concerned with psychology and the quotidian.

Kessler's work since the»80s has been aligned with the tradition of kinetic sculpture and assemblage that emerged in the early twentieth century — such works as Marcel Duchamp's Rotoreliefs, Moholy Nagy's time / space modulators and Yves Tinguely's self - destructive machines are obvious sources — but filtered through the erratic, jury - rigged aesthetic of artists like Robert Rauschenberg and the improvised, makeshift special effects of B - filmmaker Ed Wood.

Spotlight, meanwhile, dedicates space to underrepresented twentieth - century work, whether lesser - known moments in the careers of recognized artists (such as Mary Kelly's mid-1980s installations, or Jo Baer's early gouaches); artists coming into or returning to critical attention (such as Robert Filliou and Alan Shields); or artists working from a non-Western perspective (such as Zahoor ul Akhlaq, Abraham Palatnik, and SH Raza.)

Spotlight meanwhile, dedicates space to underrepresented twentieth - century work, whether lesser - known moments in the careers of recognized artists (such as Mary Kelly's mid 1980s installations, or Jo Baer's early gouaches); artists coming into or returning to critical attention (such as Robert Filliou and Alan Shields); or artists working from a non-Western perspective (such as Zahoor ul Akhlaq, Abraham Palatnik, and SH Raza.)

Highly geometric abstraction could be found in such important early twentieth avant garde art movements as Suprematism, Constructivism, De Stijl, and Cubism.

In turn, early twentieth - century artists such as Alfred Kubin, Paul Klee and the German Expressionists Emil Nolde and Ernst Ludwig Kirchner were inspired by his creative power and radical rejection of traditional European ideals of beauty.

In the early twentieth century, artists such as Robert Henri, George Luks, John Sloan, and others were interested in the gritty details of modern urban life.

Popular artistic practice has remained stuck in the prerevolutionary tradition, where artists are encouraged to create works that imitate early twentieth century masters such as Cézanne and Picasso or deal with religious themes and iconography.

The earliest works, taken by photographers such as George Bradford Brainerd and Irving Underhill, document the resort from the post — Civil War period through the turn of the twentieth century.

As Thomas reorganizes the interior space surrounding the female figure, she draws inspiration from late nineteenth - and early twentieth - century artists such as Édouard Manet, Henri Matisse, Fernand Léger, and Romare Bearden — all of whom used abstraction, to one degree or another, in their representations of the world.

It has grown to include works by many international artists of earlier generations: not only postwar masters like Bacon and Giacometti, but also pivotal figures in the history of twentieth - century art, such as Richard Hamilton, Mario Merz, Bruce Nauman, Richard Prince and Kurt Schwitters.

Switching to a career in fine art from his dream of becoming a commercial artist, Ed Ruscha first came into prominence in the early 60s with his large word paintings and paintings of commercial icons, such as Twentieth Century Fox and Standard Station, that related in manner and style to the nascent Pop art movement.

The work will be exhibited in the museum's Early Twentieth - Century Art Gallery, among works by other modern American masters such as Georgia O'Keeffe, Charles Sheeler and George Bellows.

The exhibition is divided into chronological chapters, ranging from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art.

In his paintings, metal reliefs, sculptures, and prints, he has advanced the history of abstraction, an art movement that emerged during the early twentieth century in the innovations of artists such as Vassily Kandinsky, Kazimir Malevich, and Piet Mondrian.

Date: 1910 Size: 30 x 43 inches About The Poster: Chanabier and Sons was a French company who, in the early twentieth century, produced French liqueur such as the digestif advertized in this poster.

In addition to showing works by early twentieth century famous painters such as Picasso, Braque, Dubuffet, and Kurt Schwitters (creator of the Merzbilder collages and the «Merzbau», a whole building filled with objets trouvés, destroyed by Allied bombing in 1943), the exhibition also showcased assemblages by American artists such as Man Ray (1890 - 1977), Joseph Cornell (1903 - 73) and Robert Rauschenberg, as well as lesser Californian assemblage artists such as Wallace Berman, Bruce Conner and Edward Kienholz.

On view in this exhibition will be a selection of artworks by contemporary artists including Elizabeth Peyton and Dana Schutz, artists of Katz's generation such as Ronald Bladen and Al Held, whose reputations continue to grow, and foundational early twentieth - century modernists such as Charles Burchfield and Marsden Hartley.

The conclusion that The probability that multi-decadal internal variability fully explains the asymmetry between the late twentieth and early twenty - first century results is low (between zero and about 9 %) hinges on results from climate models that are not fit for such a task.