Sentences with phrase «traditional narrative painting»

The exhibition revolves around three large - scale paintings that, each in their own way, meld traditional narrative painting, classical themes and modern pop - culture.

Not exact matches

A sphere made of colored strips of fabric torn from a plethora of unraveled paintings, The Painting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrPainting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting's many deaths and resurrections.

Carrot - stamping is a technique by which the artist escapes the hierarchies and grand narratives inherent in traditional painting, and which allows unforeseen, subtle nuances and patterns to emerge in his work.

In 1957, Farmanfarmaian returned to her native country, learning traditional art forms including Turkoman jewellery, reverse - glass painting and coffee - house painting — a popular form of Iranian narrative art.

His powerful epic narrative is the result of elevation and transformation of the medium of drawing into the painting through the use of traditional methods of processing light and dark as the primary elements.

The Art of the Flower positions floral paintings within a broader art historical and cultural narrative and reveals how the traditional genre was reinvented through artistic experimentation in the 19th and early 20th centuries.

Formal yet liquid, amorphous yet figurative, the sculptures explore notions of traditional architecture while encompassing elements of painting, stagecraft, and suggestive, open - ended narratives.

Inspired by the hand scrolls and painted screens of early 17th Century Japanese artist Tawaraya Sōtatsu, who combined the traditional themes of the indigenous school of Japanese narrative scroll painting with the bold, decorative designs of the great screen painters of the Azuchi - Momoyama period.

She traveled the country, developing appreciation of traditional craftsmanship: from Turkoman jewelry and clothing to narrative coffee house paintings.

Combining elements from traditional European painting with global socio - political consciousness, the Iranian - American artist leaves mesmerizing marks on the canvas, building narratives on displacement, tragedy, and chaos.

The conventional narrative applied to Turner holds that the artist emerged from his roots in traditional landscape painting with a new style, suffusing form in light to create fields of color verging on abstraction, hence his connection with Modernism.

As you enter the exhibition space located in a beautiful brick building, you find yourself confronted with dark and delicate portraits mounted with a sense of architectural narrative that highlights the already clear references to traditional modern painting, specially Braque's cubism and Arcimboldo's surreal portraits of flowers and fruits.

Through the tropes of traditional painting — portraiture, landscape, and other narrative modes — he builds a conversation around visibility and invisibility.»

Combining images from different sources, Sikander creates densely layered paintings that transcend traditional notions of narrative to combine «overlapping commentaries on lived experiences, art history, and pop culture.»

Citing a desire to revisit fifteenth - century Italian painting in which figures are situated within highly detailed architectural spaces, Larsen began to create narrative scenes that upset any sense of the illusory perspectives of traditional representation.

Whereas traditional portraiture represented specific characters and narratives, Yiadom - Boakye's paintings present figures drawn form the artist's own imagination and memory outside time and place.

Ford's work draws on the visual language and narrative ambitions of traditional natural history painting to examine the intersection of human culture and the wild from which it emerged.

His work subverts traditional portraiture, as well as narrative and historical themes creating paintings that use details and compositional elements appropriated from artists such as Jacques Louis David, William Hogarth and Sir Joshua Reynolds.

Inspired by traditional Chinese ink painting, Lu Chao's Babel fits entirely into the «humanistic» Western tradition, in as much as the artist's narrative is concerned with the interaction between human being and unseen sources of power.

«The objects assembled in this exhibition challenge the way African - Americans have historically been seen, creating alternate narratives to the traditional Western art accounts from ancient Egypt and classical Greece, to the birth of modern painting, to postwar abstraction and conceptual practice,» according to a news release.

Rather than create a narrative illustration like those found in traditional Mexican mural painting, Rasgado seeks to compose a forensic painting generated from the very material of popular protest that also conveys the spirit of the moment.

The investigation of the 20th - century abstract artists has shown us that the qualities of line and shape, proportion, and color convey a meaning without the use of words, and without the the narrative quality of the traditional painting.

The work, an homage to grand narrative painting, subverts traditional interpretations.

Today we are experiencing a renaissance in this mode of artistic expression, due, in large part, to the National College of Arts in Lahore, Pakistan (NCA), which since the 1980s has taught this traditional practice of wasli paper - and brush - making techniques, paint mixing, narrative style, and iconography.

This graphic narrativization is a stylistic update of Marshall's best - known work, monumental paintings of African - American subjects based on the traditional genre of narrative history painting.

In positioning himself between worlds — the art world, his family and community, peripheral spaces he seeks to inhabit — Murillo has made room for a new visual language, one that draws as easily and subversively on his personal narratives and the narratives around the places he has visited, as it does on traditional vocabularies of painting, installation, and sculpture.

Similarly, while Amy Sillman is known for her abstract paintings, her iPhone and iPad animations fuse abstract language with narrative and figuration; all within a practice that unmoors the painterly from its traditional auratic bases.