Übersetzung für "Formenkanon" in Englisch

The monumental figure shown in the exhibition takes its inspiration from the classical canon of forms.

Felix Mendelssohn Bartholdy (1809 – 47) was deeply committed to the Classical canon of forms.

The canon of forms seems to have sprung from the painterly process and to have been guided by a dynamic movement.

Although new temples to Greek deities still continued to be constructed, e.g. the Tychaion at Selge they tend to follow the canonical forms of the developing Roman imperial style of architecture or to maintain local non-Greek idiosyncrasies, like the temples in Petra or Palmyra.

Partly due to Moser's limited activity, the spectrum of forms changed from purely geometric to a more decorative and floral style.

Following the European Avant-garde movement of the constructivists in the 20s and 30s, particularly the Zurich Concrete Art representatives headed by Max Bill, Richard Paul Lohse and Camille Graeser intensified and systemized in the 40s and 50s the critical dealing with this canon of forms.

The geometric body has already been introduced by Paola Navone in the canon of shapes with Taste White and is one of the archetypes of the Italian designer.

Based on Müller's interest in images of the body and concepts of identity in alternative artistic practices in the 1960s and 1970s, this exhibition will consider the contemporary potential of the formal canon of classical modernism.

The slowly changing image – if it changes at all – allows references to emerge, not only to monumental Greek sculpture with its aesthetic canon of forms [which is augmented by the slightly artificial body color].

After some time a silent explosion fragments these terms and the resultant individual fragments are delivered from the canon of the altarpiece forms.

But only in one of the paintings of those days is the metropolis Big Apple New York, at least partly to be perceived in its individual features, derived out of a huge photograph of New York which has become carrier of Thitz´ line and colour scaffolds and which in some parts shines through Thitz´ canon of colour and form.

With the process of hand-making where time does not seem to be important, the simple and repetitive activity and the presentation in accumulations, Hassan Sharif creates a wealth of forms that reminds of pre-industrial cultural forms such as the cultural traditions of a Bedouin society.

A large series of silk-screened works from the early 1970ies reveals the canon of forms that characterize Bruno Gironcoli's early sculptures, the most important of which are in the Generali Foundation Collection and have been shown a number of times.

Presented are also the fascinating spider web objects and the large, enigmatic woodcuts as well as the circle and grid constellations with their strict canon of forms, to which the artist was later drawn.

As opposed to Nijinsky or Nijinska, Balanchine consciously falls back onto the formulary canon of classical ballet traditions, the danse d'école of the 19th century.

How much Sibelius had departed in his symphonic works from the traditional canon of forms can last be heard in his one-movement Seventh Symphony, premiered as Fantasia sinfonica, which Simon Rattle will perform directly following the Sixth: starting from an adagio tone in the strings reminiscent of Mahler, the music progresses through many stages to a fateful climax, before a Largamente conclusion again takes up the plaintive character of the beginning.

A new canon of forms for the 16-hour opera had to be invented and rediscovered that would be able to portray the most secret and shyest moments of seduction and being seduced.

Details, which have been hidden up to then, turn into digitally edited, abstract picture sequences, that can impressively convey the historic canon of shapes.

From the classical modernist period onwards, the radical elevation of the functional structure corresponded to an aesthetic approach based on the desire to break free from older forms.

The 'Demoiselles d'Avignon' from 1907 mark the beginning of his Cubist period in which he exceeded classical forms.

Starting with the cannon of standard forms, she combines individual elements according to her needs without devaluing the individual parts.

The rigorous and non-representational canon of forms grows out of her assimilation and reframing of various abstract tendencies, from constructivism to Minimal art.

In dispensing with opera’s traditional canon of forms and conventional techniques of composition Birtwistle has created in his Gawain a work of timeless modernity whose merits have been described as follows by a British critic: “Gawain marks a climactic point in Sir Harrison Birtwistle’s output, combining dramatic strategies from his four earlier stage works with a clearer narrative than any of them and drawing together aspects of his musical language that he had been exploring in concert works for 15 years or more.