Sentences with phrase «traces of his early paintings»

Not exact matches

One reason it's hard to believe in the Coens» characters or their surroundings is that just about everything that isn't borrowed from the original Ladykillers comes from an earlier Coen movie (except the changing expression on the painting of Munson's late husband, which can be traced back to any number of awful Hollywood haunted - house movies).

The editor tells the story of Mrs Jo Jo, recently resurrected and now competing again / Dexter Brown also known as de Bruyne — Tony Clark traces the career of this renowned artist and evaluates his distinctive style, illustrated with examples of his work / de Bruyne Painting — One of the earlier, large De Bryune paintings depicting a scene from the 1908 French Grand Prix / Granville Bradshaw — Michael Worthington - Williams considers a new biography of this prolific and talented, but flawed, designer / The Genius of Fangio — Simon Moore talks to Michel Poberejsky about Juan Manuel Fangio and the 1957 Monaco Grand Prix

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

An amazing collection of paintings and other works from the Centre Pompidou, Paris, traces the development of this extraordinary and inventive artist, from his early figurative works to his most modern pieces.

The exhibition traces the evolution of Michael Goldberg's work from the early cubist inspired drawings of the 1940s to the monumental nonobjective paintings of the early Read More»

Drawing on the DIY aesthetic of punk, dub and early hip hop music and the tradition of street fly - posting to promote gigs and events, Simmons» rainbow saturated coloured paintings reveal traces of the long forgotten individual and collective creative voices that have informed and shaped contemporary culture.

The extensive exhibition will trace the origins of these highly operatic text - based paintings back to Hanson's earliest works, showing rarely seen examples from the»60s and»70s alongside his vibrantly colorful, buoyantly playful recent paintings.

This exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus on objects arranged to emphasize composition, form and structure.

This is due in large part to the site's dedication to representing primarily painters working in the realm of Magic Realism, a predominantly Midwest American school of painting often considered an offshoot of Surrealism, but which traces its roots to the early 20th century as an outgrowth of German expressionism (thereby actually pre-dating the surrealists by a few years).

In the selected items on view, the developments of American artistic traditions can be traced through the early interests in portraiture, the rise in prominence of landscape painting in the 19th - century, the popularity of genre scenes, as well as the academic traditions of history and large - scale society paintings.

Two Centuries of American Still - Life Painting: The Frank and Michelle Hevrdejs Collection traces the history of American still - life painting in the United States over the course of nearly 200 years, from the early 19th century to the presPainting: The Frank and Michelle Hevrdejs Collection traces the history of American still - life painting in the United States over the course of nearly 200 years, from the early 19th century to the prespainting in the United States over the course of nearly 200 years, from the early 19th century to the present day.

The origins of the «Spill Paintings» can be traced to several different strands of the Chicago artist's earlier work.

Lonely Old Slogans traces Richter's earliest, colour - intensive abstract improvisations through to his figurative works, described by the artist as a new form of history painting.

The Columbus Museum of Art and Denver Art Museum present Mark Rothko: The Decisive Decade, 1940 — 50, a major exhibition tracing the evolution of Rothko's work from his Surrealist - influenced, figurative compositions of the early 40s to the abstract, color field paintings for which he is best known.

This deeply rooted interest can be traced to Steinbach's early work of the 1970s that related to the leading concepts of Minimalism and Color Field painting.

The exhibition traces the evolution of Michael Goldberg's work from the early cubist inspired drawings of the 1940s to the monumental nonobjective paintings of the early 1960s and the abstracted landscapes and still - lifes of the mid - to late «60s, the monochromatic paintings of the 1970s and ending with his use of grids in the 1980s.

Spanning work made between the 1960s and 1990s, this concise survey traces the evolution of Tanaka's style from his dark and intense early paintings, which demonstrate abstract experiments with nihon - ga materials, to the refinement of his later works that display a fresh and profound lyricism through the use of color.

Elizabeth Osborne's paintings have become more radically abstract in the last decade, but one can trace the thick, elongated brushstrokes back to the views of Arizona, Maine, and Maryland from the late 1990s and early 2000s.

BRACHA: Pietà — Eurydice — Medusa is the first comprehensive solo museum exhibition of Bracha's work in the United States, featuring a range of works spanning the last four decades — oil paintings, often created over several years, earlier and more recent drawings, notebooks, and three video works — that address the themes of loss, love and trauma within the context of the atrocities of war and traces of memory of the tragedy of the Holocaust.

Click to purchase on Amazon In this first book - length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his more recent gallery shows.

Ranging from her earliest explorations in painting to new works made in the past few years, this survey — the artist's first major exhibition in New York in fifteen years — celebrates a career of exceptional duration and distinction, tracing the development of Kusama into one of the most respected and influential artists of her time.

This exhibition, the first major retrospective since the artist's death in 1986, will include approximately 300 works tracing Thomkins's evolution from the early Surrealist - inspired drawings of the»50s and»60s to his later, more visionary paintings, watercolors, and sculptures.

Perhaps this search began in the mid-1980s, with Johns's cycle The Seasons (1985 — 86), in which picturing this venture of thought required a detour through picturing something like a self — hard to commit to it being Johns's self — through references to some of the artist's earlier image strategies (flags, devices) as well as icons of philosophical thinking such as the Platonic forms, Joseph Jastrow's duck - rabbit diagram (the latter made famous by Ludwig Wittgenstein's inquiry into «seeing as» in the Philosophical Investigations, 1953) and Pliny's origin story of the birth of painting as the tracing of a loved - one's silhouette in shadow.

CAROLEE SCHNEEMANN: KINETIC PAINTING Beginning with the paintings she made in the early 1950s, Ms. Schneemann's first American retrospective will trace the development of her boldly personal and emphatically feminist performance and video work.

Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.

This historic survey, the most comprehensive ever mounted, features more than 115 works and traces Martin's career from her lesser - known paintings of the 1950s to her final canvases of the early 2000s.»

The exhibition traces the development of Sillman's work over the past 25 years — from her early use of cartoon figures and a vivacious palette, through to her exploration of the diagrammatic line, the history of Abstract Expressionism, and a growing concern with the bodily and the erotic dimensions of paint.

Richard Armstrong observed in his 1987 essay, the continual presence of a diagonal axis structuring Tworkov's paintings that can be traced back to the early 1950s.

Roy DeForest is represented by three large paintings, the earliest of which, A Bird in the Hand (1965), shows traces of DeForest's involvement with abstract expressionism.

Using William Gibson's writings on atemporality as a point of departure, Hoptman culled canvases registering traces of earlier styles and times — from Kazimir Malevich's utopian abstraction to Barnett Newman's heroic zips to the title of a Lucio Fontana painting — in sometimes overt, sometimes clandestine ways.

To begin 2018, the George Adams Gallery will mount an exhibition of early paintings by Elmer Bischoff (1916 - 1991), tracing his development from the mid-1940s, to the years preceding his transition to figurative painting in 1952.

His earliest recollections of any single piece of art can be traced back to the home of his grandmother Eloise, who owned a cheap print of a Paul Detlefsen painting.

The largest of these works, Barbara in Spiral Heaven, 1989, carries traces of the artist's hard - edge paintings of the late 1960s and early 1970s, as well as his groundbreaking quilted canvas constructions of the mid - to late 1970s.

With 200 color plates, it traces his development, from the early painted objects to the first neon tubes, beginning with the «Diagonal of May 25, 1963 (to Constantin Brancusi),» and beyond.

Alongside abundant illustrations, three essays trace the arc of Langlais» career, from his early experiments in painting and his transition to wood sculpture in the 1960s to his return to figuration and his exhaustive exploration of animal motifs.

This exhibition traces a narrative of Schor's work since the early 90s to the present, from Semi-colon in a Flesh Comma (1994) which punctuates the text of the female body, and Undue — a section of War Frieze, her major 1991-1994 200 - running feet long multiple canvas work on militarism and aggression, painted in the aftermath of the first Gulf War but still as timely today — through representations of the nature of artmaking itself — the sign, the trace — to the empty thought balloon when grief has left the artist at a loss for words, to her most recent works schematically figuring the artist as thinker, reader, writer in an uncertain world.

He describes his work as such, «My early paintings have traces of cubist inspiration.

The real difference between the «Elegies» and the «Opens» is that the earlier series retains a faint trace of symbolism that can include a Freudian reading of their phallic and testicular shapes, while the latter paintings are more purely visual in their content.

Curated by the National's Jeffrey Weiss, the show traces Rothko's development from his early figurative expressionism through his mythographical explorations of the»40s and the floating zones of deep color that characterize his mature style — work that made him one of the most celebrated and influential forces in the midcentury triumph of American painting.

By the early - seventies, de Kooning employed a system of tracing his own paintings onto sheets of vellum.

Spanning work made from the 1950s to the end of the artist's life, this survey traces Maria Lassnig's evolution from early experiments with abstraction to a richly inventive figuration and the refinement of her «body awareness» paintings, in which she captured physical sensation as felt from within.

His early paintings helped catalyze the transition of the dominant mode of painting from Abstract Expressionism to a post-painterly abstraction that minimized any trace of the artist's hand.

Howardena Pindell: What Remains to Be Seen traces the themes and visual experiments that run through the New York — based artist's five decades - long career, featuring early figurative paintings, pure abstraction and conceptual works, and personal and political art that emerged in the aftermath of a life - threatening car accident in 1979.

Like his earlier works, Diebenkorn's later abstractions allow the accumulated drawn and painted traces of his painstaking process to remain visible.

Spanning work made from the 1950s to the end of the artist's life, this survey traces Lassnig's evolution from early experiments with abstraction to a richly inventive figuration and the refinement of her «body awareness» paintings, in which she captured physical sensation as felt from within.

Author Eugene Goossen speculated that the two - and three - color paintings (such as Three Panels: Red Yellow Blue, I 1963) for which Kelly is so well - known can be traced to his bird watching and his study of the two - and three - color birds he saw so frequently at an early age.

The exhibition presents work spanning fifteen years and is divided into three sections: earlier round paintings with traces of realism, a complete shift into abstraction within painting, and finally, recent sculptural explorations using Plexiglas.

The exhibition begins with a selection of early works from the 1960s in which the artist inaugurates his mode of tracing hand - drawn geometric figures within the outline of a shaped support, and continues through the 1970s, featuring examples of Mangold's Circle paintings and A Triangle Within Two Rectangles paintings.

In this first book - length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his more recent gallery shows.

Beginning with Craig - Martin's early use of ready - mades in the 1970s, it will trace his growing interest in painting in the 1990s leading on to today's increasingly complex site - specific wall paintings.