Sentence examples for conventional paintings from inspiring English sources

Hung in provocative juxtaposition with the conventional paintings of two more modest and blokish men, Blair's painting is an ironic icon.

What fascinates me about Sehgal is that working only with human clay, he can call forth thoughtful and visceral responses from people who remain unmoved by more conventional paintings and sculptures.

Some chose to take the path of minimalism and conceptual art, while others, like Mr. Shields, sought to engage in what art historians often like to call deconstruction — working with the same materials and tools used to make conventional paintings but producing art that in no way resembled them.

But he knew enough about horses and movement to sense that something was wrong with conventional racetrack paintings.

In 1914, months before the outbreak of a war so catastrophic it would spark a civilizational and spiritual crisis, Klint exhibited some of her conventional, naturalistic paintings in the Baltic Exhibition in Malmö, Sweden.

What makes the picture strange is that the voyeurs don't hide behind a hedge, as was conventional in paintings of this Biblical story, but instead press claustrophobically close to their object of desire.

Art and politics take more conventional forms in paintings by Juan Davila and Kerry James Marshall, two of several artists who reappear throughout the show.

A preliminary study for one of his frescoes inspired by the 1656 plague that struck Naples could not be more different from his usually conventional full-fledged paintings.

Their conventional format – grouped paintings of representative individuals of different species in different plumages, with descriptions and distribution maps laid out on the facing page –seems transparent to me now, but you need to learn how to read field guides just as you need to learn how to read graphic novels or Renaissance paintings.

The aim of Undercover Surrealism, opening at the Hayward this month, has been to reflect the visual aesthetic of the review itself, juxtaposing different kinds of objects to cut across conventional hierarchies, grouping paintings, ethnographic objects, films, photographs, sculpture or crime magazines in relation to the key strategies and ideas in Documents.

In the exhibition, the two big, blazing-fireplace images are followed by the final room, which features a very different selection of work: seven conventional-size easel paintings in oil on linen.