Sentence examples for movement of figures from inspiring English sources

Leonardo da Vinci's rich and universal genius is best demonstrated in the dramatic movement of figures and tensely psychological interpretation of content shown in his two most important mural projects: the Battle of Anghiari (1503 06) in the Palazzo Vecchio of Florence (destroyed but known through partial copies) and the famous Last Supper (1495 98) in the Santa Maria delle Grazie in Milan.

Andrew Smith is the media coordinator for the Campaign Against the Arms Trade (CAAT), an organisation that has catalogued the movement of figures between the government and the arms industry.

Inspired by childhood experiences observing theater and the movement of figures through her neighborhood from her grandparent's front yard in Bulgaria, Kubler approaches her flat figures as cut-out dolls or puppets on a small stage.

Due to this, although, for various reasons this compound eye probably was not able to form a proper image, it was able to perceive tiny prey within a wide visual field, in the same way that the movement of figures can be traced in a chess game.

The unrehearsed movements of figures like these, when loosely jointed, have a spontaneous vitality that more sophisticated puppets often miss.

In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.

In Joy Goldkind's transfer-printed photographs, multiple exposures suggest the movement of female figures through time and space.

In the "School of Athens" Raphael, like Leonardo before him, made a balance between the movement of the figures and the ordered and stable space.

Much of the main action takes place in the 1940s and '50s, when Abstract Expressionism, romantic and ponderous, dominated the scene, spawning a kind of resistance movement of cultural figures trying to stay clear of its shadow.

In his well-known painting "The Primavera" (Uffizi) he uses line in depicting hair, flowing draperies, or the contour of an arm to suggest the movement of the figures.

Its development can be followed from the allegorical decoration of the Palazzo Farnese in Rome by Annibale Carracci to the increasingly elaborate wall and ceiling frescoes of Domenichino, Pietro da Cortona, and Andrea Pozzo whereby the dramatic movement of foreshortened figures and perspective blends with the architecture to achieve a total unified and endless illusion of space.