Sentences with phrase «taking classical forms»

The greatest holdout in the nineteenth century was perhaps Dostoevsky, in whose very soul the struggle between the presence and the absence of God took a classical form.

Not exact matches

Sometimes deprovincialization takes the form of inventive explorations of polytheism, with minimal wrestling with pertinent classical traditions.

I should now be willing to suggest that it is a willingness to take the axiological feature as ultimately determinative for the attribution of divinity that characterizes all modern forms of so - called ethical theism and distinguishes them from the classical tradition.

Unlike a digital bit in a classical computer, which can take the form of either 0 or 1, a qubit can be both zero and one simultaneously, throwing open the door to vastly more powerful computation.

Instead of approaching the decade through the lens of one genre or auteur, Bordwell thinks about the stylistic hallmarks that distinguished the decade — for example, screenwriting conventions like flashbacks — and how they paved the way for the classical Hollywood form we might take for granted today.

The work takes inspiration in part from classical imagery: The artist finds resonance in both representational Catholic iconography as well as the architectural forms of European Gothic and Islamic architecture, while recent praise in the New York Times places her in a complex lineage with both Georgia O'Keefe and Judy Chicago.

Sikander's pioneering practice takes classical Indo - Persian miniature painting as its point of departure and challenges the strict formal tropes of the genre by experimenting with scale and various forms of new media.

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

His works take a variety of forms, from photographic reproductions (Giovane che guarda Lorenzo Lotto, 1967) to casts of classical sculptures (Mimesi, 1975).

Yves Klein (1928 - 1962) loves deep blue and Lot 241, «Venus Bleue,» shows what happens when you take a Classical sculpture of a woman's torso and make a very fine plastic sculpture of such a form and cover it with dry blue pigment in synthetic resin instead of lustrous white marble.

This particular work takes the form of a traditional Chinese scroll and is executed in a style that reveals Huang's classical training.

The three ceramic forms are taken from Wedgwood's vast body of vases and urns, which were inspired by the classical roman pots being excavated from all over Europe in the mid-1700's, most notably the Portland vase that Josiah Wedgwood saw on display in London in 1786, later producing his own version in his trademark Jasperware.

This exhibition takes a lurid approach to what is normally considered decorative architecture, re-thinking the female form through its role in classical objects of function; a Venetian Moore lamp, a stool, a vanity, a mirror, a chandelier and tapestry.

She has cast forms in plaster and jesmonite and arranged them so that they unavoidably reference a sculptural tradition that takes you from the abstraction of Anthony Caro, back towards the figure through Henry Moore and beyond him to classical sculpture.

By the time of his death, Palladianism had been taken up by a whole new generation of British architects working in the classical forms, and was to remain in fashion until it was replaced by the Neoclassical interpretations of such architects as Robert Adam.

French street artist Nadège Dauvergne is about to take her wonderful creations, formed from a hybrid of classical painting and street art, to Le Cabinet d'Amateur in Paris.

The sculptures — curiously lightweight, layered human forms — might seem recognisable from last year's Summer Exhibition, where the artist's colourful, translucent take on classical statuary greeted visitors in the Academy's Central Hall.

In his most famous series, Great American Nude, Wesselmann takes the classical nudes of Titian and the modern odalisques of Henri Matisse and Édouard Manet and lends the female form his own treatment.

Survey results indicating that students view the «mechanical» skills of grammar as important as the substantive skill of analysis are taken evidence that students are misguided in their failure to understand the classical distinction between form and content.

A minimalist lamp takes classical Greek form to its ultimate extreme.