41 Sentences With "more representational" | Random Sentence Generator

And although it's more representational, that doesn't make it better.

In the past, my more representational paintings seemed to predict their outcome.

While Mohammed Zarif is the titular foreign minister, his job is more representational while Soleimani served as the true executor of external affairs.

"When I first began these works they were more representational and I was not at all interested in them looking particularly real," he adds.

And unlike other proposals for making voting more representational, RCV might go some way to dampening down the dynamics that have made American politics so partisan.

From the neo-Expressionism of Julian Schnabel to the neo-Pop protest art of Barbara Kruger, art became more representational, more personal and more political, and Mr. Morris's reputation for up-to-the-minute saliency was never again what it was in the ′60s.

In the words of biographers Mark Stevens and Annalyn Swan in the excellent De Kooning: An American Master: The abstract expressionist movement, which attempted to free itself from figurative language, was largely dismissive of the work of these women, many of whom were accused of being too much in the shadow of more representational European traditions.

Roberto Eduardo Biagio Borgatta y Ruiz (1921–2009), known professionally as Robert Edward Borgatta, was an American artist and foremost a nature painter whose style evolved from abstractions and later became more representational.

In 1934, the exhibition Objective Abstractions was held at the Zwemmer Gallery showing the group's work, except Hubert's. The exhibition also included work by more representational artists, Ivon Hitchens, Victor Pasmore, and Ceri Richards.

There he painted alone while his wife commuted to work in Chicago. In the late 1930s he bought an island in Rainy Lake on the Minnesota-Ontario border, where he built a cabin, fished and painted. His work from this period became more representational, emphasising the insignificance of human figures in a wild landscape.

After moving to New York in 1979, Grad began explored imagery from her new surroundings—cityscapes, street life, pinball machines, the figure—in more representational paintings that she exhibited at 55 Mercer Gallery in New York and Jan Cicero in Chicago. Barbara Grad, Fruit of the Vine, oil on linen, 48" x 72", 1996.

298 The windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif.Spitz 1994, p.50 Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery.

Political moderate Nader Dahabi was appointed prime minister. In November 2009, the King once more dissolved parliament halfway through its four-year term. The following month, he appointed a new premier to push through economic reform. A new electoral law was introduced May 2010, but pro- reform campaigners said it did little to make the system more representational.

Concert is an oil on canvas still-life painting by Cubist painter Georges Braque, painted in 1937. It measures 28 × 35½ in. (71.12 × 90.17 cm). In comparison to earlier paintings by Braque, especially those of Analytical Cubism, it contains Surrealist inspired aspects, such as a more colorful palette, and a more representational rendering of the objects.

In 2012, Driehaus publicly opposed Frank Gehry's modernist design proposal for the Dwight D. Eisenhower Memorial and funded a lobby group to block it.Bernstein, Fred A. "Newsmaker: Richard Driehaus", Architectural Record, March 19, 2015; retrieved September 22, 2015. Driehaus said of the proposed memorial, "Architecturally, it didn’t speak to me. We want something more representational," but he has also criticized the closed selection process.

The American artist Alexander Calder created the abstract sculpture Mercury Fountain (1937). The involvement of a non-Spanish artist was also an important statement in an era dominated by the rise of nationalism, both in democratic and totalitarian regimes. Even in democracies, voices called for a return to a more representational style. For instance, some criticized the central place given to Picasso's Guernica because it was not explicit enough in its denunciation and was too complex.

He took a position at California College of Arts and Crafts in 1955 where he taught until 1958. He established his home in Berkeley and lived there until 1966. It was during the first few years of this period that Diebenkorn abandoned his strict adherence to abstract expressionism and began to work in a more representational style. By the mid-1950s, Diebenkorn had become an important figurative painter, in a style that bridged Henri Matisse and abstract expressionism.

In Los Angeles, Doolin's work became more representational, following his desire to create "more 'traditional' illusionistic paintings from direct observation." The artist spent much of his two years at UCLA "painting illusionistically -- observed reality, dreams, fantasies, and memories." The following year, he became an instructor at the university while furthering his exploration of illusionistic painting. Photorealism and Conceptual Art had emerged to become two of the dominant styles during this period, and both of these movements influenced the artist's epic work Shopping Mall.

Most of Fischinger's filmmaking attempts in America suffered difficulties. According to Moritz, Fischinger composed An Optical Poem (1937) to Franz Liszt's Second Hungarian Rhapsody for MGM, but received no profits due to studio bookkeeping systems. He designed the J. S. Bach Toccata and Fugue in D Minor sequence for Walt Disney's Fantasia (1940), but quit without credit because Disney altered his designs to be more representational. According to William Moritz, Fischinger contributed to the effects animation of the Blue Fairy's wand in Pinocchio (1940).

1930, Editions Ars, Paris Turning towards a more representational figuration—in a highly stylized, curvilinear and descriptive form—allowed Csaky the contact with reality, a reality that ran deeper than surface appearances. For the rest of his life, he was interested primarily in the female body in youth, a theme that expressed optimism, happiness and well-being. He was fascinated by the beauty and expressiveness of the human form in itself. He explored the subject to express his ideas and connotations attached to them.

On the occasion of his solo exhibition at the Shiga Museum of Modern Art in Osaka, he took a study trip to Japan. Since 1993, Erben has been creating site-specific wall arrangements in public buildings in Hannover, Essen, Stuttgart and Berlin, among others. He also has wall paintings or installations for temporarily conceived spaces in museums or in the context of exhibition projects. Since 1988, he has also been using oil paint, initially for more representational small-format paintings, with echoes of Italian landscape motifs, under the theme "was ich sehe" ("what I see").

Raúl Martínez had his first exhibition in 1947, in the XXIX Salón de Pintura y Escultura de Círculo de Bellas Artes. His earlier works were a typification of Cuban art of the time: the outcome of a play with expressionist and post-cubist devices, and has been described as "competent, stereotypical, and forgettable". The artist's more notable entrance into painting was in 1956, when he started his abstract-expressionist work, leaving the group Los Once to pursue more representational work, at which point he left behind any traces of the "stereotypical" aforementioned.

The Papineau Rebellion of 1837. After the War of 1812, the first half of the 19th century saw the growth of political reform movements in both Upper and Lower Canada, largely influenced by American and French republicanism. The colonial legislatures set out by the Constitutional Act had become dominated by wealthy elites, the Family Compact in Upper Canada and the Château Clique in Lower Canada. The moderate reformers, such as Robert Baldwin and Louis-Hippolyte Lafontaine, argued for a more representational form of government which they called "responsible government".

A related area of study is sensory (or perceptual) ecology. This field aims at understanding the unique sensory and interpretive systems all organisms develop, based on the specific ecological environments they live in, experience and adapt to. A key researcher in this field has been psychologist James J. Gibson, who has written numerous seminal volumes considering the senses in terms of holistic, self-contained perceptual systems. These exhibit their own mindful, interpretive behaviour, rather than acting simply as conduits delivering information for cognitive processing, as in more representational philosophies of perception or theories of psychology (1966, 1979).

With Miró's help, Ernst pioneered the technique of grattage, in which one trowels pigment onto a canvas then scrapes it away. Miró returned to a more representational form of painting with The Dutch Interiors of 1928. Crafted after works by Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions, the paintings reveal the influence of a trip to Holland taken by the artist. These paintings share more in common with Tilled Field or Harlequin's Carnival than with the minimalistic dream paintings produced a few years earlier. Miró married Pilar Juncosa in Palma (Majorca) on 12 October 1929.

One of the most important scenic transition into the century was from the often-used two dimensional scenic backdrop to three dimensional sets. Previously, as a two dimensional environment, scenery did not provide an embracing, physical environment for the dramatic action happening on stage. This changed when three dimensional sets were introduced in the first half of the century. This, coupled with change in audience and stage dynamic as well as advancement in theater architecture that allowed for hidden scene changes, the theater became more representational instead of presentational, and invited audience to be transported to a conceived ‘other’ world.

One of the most important scenic transition into the century was from the often-used two- dimensional scenic backdrop to three-dimensional sets. Previously, as a two- dimensional environment, scenery did not provide an embracing, physical environment for the dramatic action happening on stage. This changed when three-dimensional sets were introduced in the first half of the century. This, coupled with change in audience and stage dynamic as well as advancement in theatre architecture that allowed for hidden scene changes, the theatre became more representational instead of presentational, and invited audience to be transported to a conceived 'other' world.

It is thought that the pieces used in the shogi of the time were not the current five-sided pieces, but three-dimensional figures, as were used in chaturanga. This parallels the changes in chess pieces, which are more representational and less abstract than those made earlier. However, a large problem with this theory is that as pieces in this form have never been found, let alone stored in the treasury of Shōsōin, there is little physical evidence supporting it. Another theory gives a later date, stating that shogi was brought to Japan after the start of the Nara period.

Some events which shaped the city's history have also been memorialized by art works, including the Great Northern Migration (Saar) and the centennial of statehood for Illinois. Finally, two fountains near the Loop also function as monumental works of art: Plensa's Crown Fountain as well as Burnham and Bennett's Buckingham Fountain. More representational and portrait statuary includes a number of works by Lorado Taft (Fountain of Time, The Crusader, Eternal Silence, and the Heald Square Monument completed by Crunelle), French's Statue of the Republic, Edward Kemys's Lions, Saint-Gaudens's Abraham Lincoln: The Man (a.k.a. Standing Lincoln) and Abraham Lincoln: The Head of State (a.k.a.

One of the most important scenic transitions into the 20th century was from the often-used two-dimensional scenic backdrop to three-dimensional sets. Previously, as a two-dimensional environment, scenery did not provide an embracing, physical environment for the dramatic action happening on stage. This changed when three-dimensional sets were introduced in the first half of the century. With this innovation, along with change in audience and stage dynamic as well as advancements in theater architecture that allowed for hidden scene changes, the theater became more representational instead of presentational, and invited the audience to be transported to a conceived 'other' world.

In 2004 they recorded Kept Me Spitting in much the same fashion, with Dutmer and Weingarth laying down the initial song structure, and Kircher filling out most of the rest of the instrumentation himself. It was pressed later that year on Dutmer's Decorated Records imprint, and the band began to make small east coast tours in support. 5 Song was recorded with the intention of making a demo more representational of the group's sound at the time, and was put out by the band as a CD with limited packaging for ease of mailing. It featured newly added members Noah Johnson on guitar, Joseph Deluxe on bass, and Clifford Smith on keyboards.

De Forest believed that these animals also made his paintings more fun to make. De Forest's work grew more representational as his career continued, and began to include suggestions of maps and motifs evocative of persons and animals as his career continued. By the late 1960s this transformation was nearly complete, as De Forest's work now freely mixed patterns and non-objective elements along with recognizable forms such as people, landscapes, and most notably, animals. Towards the end of his life, De Forest's work also began to reflect his surroundings and life in Port Costa, California, with elements such as old brick buildings, birds, and dogs becoming more commonplace in his compositions.

World War I was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches — as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme — permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, Sappers at Work (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version. The artist's book Russian Ballet, 1919, was the last work to use the pre-war vorticist idiom.

This would do the opposite of what Tosh called for, deconstructing masculinity by not placing it at the center of historical exploration and using discourse and culture as indirect avenues towards a more-representational approach. In a study of the Low Countries, Dudink proposes moving beyond the history of masculinity by embedding analysis into the exploration of nation and nationalism (making masculinity a lens through which to view conflict and nation-building). Martin Francis' work on domesticity through a cultural lens moves beyond the history of masculinity because "men constantly travelled back and forward across the frontier of domesticity, if only in the realm of the imagination"; normative codes of behavior do not fully encompass the male experience.

He was the subject of a major traveling retrospective in 1949. He became more popular in the 1940s and 1950s for his figurative work, often expressionist renderings of Jewish families, rabbis, and Talmudic scholars, than for the early modernist work he had abandoned circa 1920 and on which his current reputation is founded. Not everyone believed that Weber fulfilled his early potential as he became a more representational and expressionist painter post-World War I. Critic Hilton Kramer wrote of him that, in light of the remarkable beginning of his career, "Weber proved instead to be one of the great disappointments of twentieth-century American art."Hilton Kramer, "Despite Mentor Matisse, Weber Lost Early Magic," New York Observer, 2/1/99.

David Bomberg, In the Hold (c. 1914)The most radical artist associated with the city during this period was David Bomberg, who was born to a Polish-Jewish family on Sutton Street in the Lee Bank area of Birmingham in 1890. Growing up in Whitechapel in the East End of London he returned to Birmingham to train as a lithographer before studying under the Birmingham-born Henry Tonks at the Slade School of Art. Loosely associated with the vorticist movement, he was one of the few English artists to wholeheartedly embrace cubism and futurism in the years leading up to the First World War, painting a series of strikingly angular works before his disillusionment with the mechanised slaughter of World War I led him to develop a more representational style from the 1920s onwards.

Paul Cézanne was instrumental, as his work marked a shift from a more representational art form to one that was increasingly abstract, with a strong emphasis on the simplification of geometric structure. In a letter addressed to Émile Bernard dated 15 April 1904, Cézanne writes: "Interpret nature in terms of the cylinder, the sphere, the cone; put everything in perspective, so that each side of an object, of a plane, recedes toward a central point."Erle Lora, Cézannes Composition: Analysis of His Form with Diagrams and Photographs of His Motifs, Foreword by Richard Shiff, University of California Press, 30 April 2006 Cézanne was preoccupied by the means of rendering volume and space, surface variations (or modulations) with overlapped shifting planes. Increasingly in his later works, Cézanne achieves a greater freedom.

Among commissions he illustrated Peggy Pollard's book Cornwall and also exhibited in 1946 at the Lefevre Gallery in London among others. His friendship with writer Denys Val Baker led to numerous contributions to and illustrations of his work in the literary magazine Cornish Review. Exhibiting paintings, drawings and sculpture regularly with the St. Ives Society of Artists and in London, Berlin was a founding member of the Crypt Group of modern-minded young artists, along with Peter Lanyon, John Wells and Bryan Wynter, and of the Penwith Society of Arts for a short time, before leaving the group following a much publicised rift between the Modernists, led by Ben Nicholson and Barbara Hepworth on one side and the more representational artists on the other. This artistic clash of egos was the inspiration for The Dark Monarch.

David Bomberg's experiences of mechanized slaughter and the death of his brother in the trenches - as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme - permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, Sappers at Work (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version. The Underworld, Walter Bayes, 1918 At the 1918 Royal Academy exhibition, Walter Bayes' monumental canvas The Underworld depicted figures sheltering in a London Underground station during an air raid. Its sprawling alien figures predate Henry Moore's studies of sheltering figures in the Tube during the Blitz of World War II. :See also the Comité des Étudiants Américains de l'École des Beaux-Arts Paris.

He was especially popular among the followers of Rousseau. Francesco Maria Tassi (1716-1782), in his Lives of the Painters, Sculptors, and Architects of Bergamo remarks that Zuccarelli paints "landscapes with the most charming figures and thus excels not only artists of modern times but rivals the great geniuses of the past; for no one previously knew how to combine the delights of an harmonious ground with figures gracefully posed and represented in the most natural colours". With the move to more representational modes of depicting landscape in the 19th century, negative criticism began to develop, as described by the art historian Michael Levey in a landmark 1959 article, Francesco Zuccarelli in England: Turner's view was restrained, saying Zuccarelli's work was "meretricious", lacking the charm and grace of Watteau, and yet his figures were "sometimes beautiful". Victorian writers, among them partisans of Richard Wilson, sensitive to the neglect of their favourite while the Italian flourished, used adjectives such as theatrical and insincere.

Paul Cézanne, 1888, Mardi gras (Pierot and Harlequin), oil on canvas, , Pushkin Museum, Moscow Several predominant factors mobilized the shift from a more representational art form to one that would become increasingly abstract; one of the most important would be found directly within the works of Paul Cézanne and exemplified in a widely discussed letter addressed to Émile Bernard dated 15 April 1904. Cézanne ambiguously writes: "Interpret nature in terms of the cylinder, the sphere, the cone; put everything in perspective, so that each side of an object, of a plane, recedes toward a central point."Erle Loran, Cézannes Composition: Analysis of His Form with Diagrams and Photographs of His Motifs, Foreword by Richard Shiff, University of California Press, April 30, 2006 In addition to his preoccupation for the simplification of geometric structure, Cézanne was concerned with the means of rendering the effect of volume and space. His rather classical color-modulating system consisted of changing colors from warm to cool as the object turns away from the source of light.