Sentences with phrase «what modern painters»

Not exact matches

Wonderful piece on many of what I believe are the best of todays modern painters.

One can easily forget that few painters here wholly gave up what they had been doing to become abstract, any more than modern art altogether turned its back on Cubism.

It's only his second week at Villa Lena and yet the only painter of the group is rapidly filling his studio walls with what could be described as classical figurative work with a modern cultural inflection.

Wilhelm Sasnal A powerful and haunting Polish modern painter — what, another?

It's got a wonderfully dreamlike, melancholic quality, and I find it strange and striking that imagery from what is the dawn of modern painting seems so appealing to contemporary painters.

Schwabsky observes: «Marshall is something we haven't seen for a while, at least in a very convincing way: He is what Baudelaire called for 171 years ago, a painter of the heroism of modern life — and the fact that the heroes of modern life are black may not be accidental.

Marshall is something we haven't seen for a while, at least in a very convincing way: He is what Baudelaire called for 171 years ago, a painter of the heroism of modern life — and the fact that the heroes of modern life are black may not be accidental.

Greenberg, and other influential figures of the time didn't understand what she was trying to do and the painter Willem de Kooning once reduced her to tears by telling Hartigan that she «completely mis - understood modern art.»

Her solo New York exhibitions «What Looks Back» at Sikkema Jenkins & Co. and «Clockwise From Window» at Monya Rowe were highly acclaimed and reviewed in The New York Times, ArtForum, Art In America, Modern Painters, The Brooklyn Rail, The New Yorker, New York Magazine, and Time Out New York.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

2014 «FEAR», The Laboratory Arts Collective Magazine, October, p. 22 - 23 J. McKenzie, «Untitled (Unconscious), Rachel Howard, Boo Saville, Gorka Mohamed, George Ziffo, Kikko Giannuzzi», Studio International, 2 May L. Bredin, «Where to buy...», The Week, 19 April T. Jeffreys, «Peter Doig, Rachel Howard, and the architect of Georgian Britain, Our pick of this week» s art events», Royal Academy, 21 March J. Jones, «The Week in Art», The Guardian, 21 February J. McKenzie, «Rachel Howard: Northern Echo», Studio International, 17 February C. Milliard, «Every Brushstroke Speaks: Rachel Howard gives new voice to oil paint», Modern Painters, February R. Campbell - Johnston, «What» s on critics» choice - Rachel Howard: Northern Echo», The Times, 8 February

What Impressionist painters offered, in their new type of modern art - as seen so vividly in Poppy Field - was a modern view of the world: one that accepted and celebrated all its contingencies.

There is a palpable tension between painters and the current — inaccurate — British idea of what modern art is.

We didn't support our abstract painters in Cornwall and championed «kitchen sink» artists, we haven't been collecting «modern art» in the 20th C, which is why the Tate collection is so poor, we have a «literary» understanding of painting, we are «academicizing» fine art in our educational institutions, we need to re-think what are problem with abstraction really is...

2 All these painters have been or can be classified as what Donald Kuspit calls the New Old Masters who, though working in Old Master techniques, are «neither traditional nor avant - garde, but a combination of the two,» carrying on the spirituality of the former and the critical consciousness of the latter.3 Both Cooper and Kuspit read in new wave history painting and New Old Master painting, respectively, a return to humanist and modern existentialist themes absent in most mainstream contemporary art.

I reached out to Olujimi to ask him about how his series with Modern Painters came about and what he hoped to achieve by discussing police - community relations in the magazine.

2001 Corbett, William, All Prose «Wes Mills» 2001 Kwasny, Melissa, «Anne Appleby & Wes Mills» Catalog essay Winter 2001 McNamer, Megan, «What you see is... what you see» Missoula Independent 2001 Jones, Sherry, «Almost nothing» The Missoulian, November 2001 Esplund, Lance, Writers on Modern Art, Modern Painters, Fall 2001 Bienvenu, Josee «Microwave 3», (catalog) September 2001 Pulka, W, «Art Chicago», Albuquerque Journal, June 3, 2001 Artner, Alan, «Art Chicago», The Chicago Tribune, May What you see is... what you see» Missoula Independent 2001 Jones, Sherry, «Almost nothing» The Missoulian, November 2001 Esplund, Lance, Writers on Modern Art, Modern Painters, Fall 2001 Bienvenu, Josee «Microwave 3», (catalog) September 2001 Pulka, W, «Art Chicago», Albuquerque Journal, June 3, 2001 Artner, Alan, «Art Chicago», The Chicago Tribune, May what you see» Missoula Independent 2001 Jones, Sherry, «Almost nothing» The Missoulian, November 2001 Esplund, Lance, Writers on Modern Art, Modern Painters, Fall 2001 Bienvenu, Josee «Microwave 3», (catalog) September 2001 Pulka, W, «Art Chicago», Albuquerque Journal, June 3, 2001 Artner, Alan, «Art Chicago», The Chicago Tribune, May 2001

In 1913, the Association of American Painters and Sculptors - a group dominated by the Robert Henri circle, including AAPS President Arthur B Davies (1862 - 1928)- organized what became the seminal exhibition of modern art in America.

They chose to take an ambitious step forward - doing what our greatest painters have always done - successfully incorporating modern vocabulary into a timeless image.

What thoughts or advice would you give someone seeking rigorous figurative training but also wants to be a 21st century painter painting modern concerns.

As a modern painter Lowry wished to show what the industrial revolution had made of the world, yet his dominant status in British art coincided with a disappearance of the industrialised world he engaged with.

It reveals what Lowry learned from the strange symbolist townscapes of his French born teacher Adolphe Valette and demonstrate important parallels with the painters of modern life Vincent van Gogh, Camille Pissarro, Georges Seurat and Maurice Utrillo, drawing upon these artists's continuous search for ways to depict the unlovely facts of the city's edges and the landscape made by industrialisation.