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His highly detailed paintings are spiritual and scientific in equal measure, revealing his psychedelic, spiritual and super-natural view of the human species. [ 17 ] In 2002, Holland Cotter, New York Times art critic wrote, "Alex Grey's art, with its New Age symbolism and medical-illustration finesse, might be described as psychedelic realism ...
Spiritualist art or spirit art or mediumistic art or psychic painting is a form of art, mainly painting, influenced by spiritualism. Spiritualism influenced art, having an influence on artistic consciousness, with spiritual art having a huge impact on what became modernism and therefore art today.
Paintings of Hebrew Bible prophets (9 C, 6 P) ... Pages in category "Paintings of men" The following 65 pages are in this category, out of 65 total.
Cole called the series an "Allegory of Human Life" and wrote detailed descriptions of the paintings, conveying how each depicts a different stage of the man's life and spiritual development. [5] The voyager has also been seen as a personification of America, and the series as a warning against westward expansion and industrialization.
He explains, "Bruegel totally humanizes the spiritual nature of this religious subject matter...Little things catch your eye, like the tower of a church, the thatched hut, birds and horses." [2] Larry Silver of the University of Pennsylvania suggests a parallel between the significance of the painting and the meaning of the parable. He writes ...
She painted "several series of impressive paintings exploring spiritual or sacred concepts". Her unique style united, in Tessel Bauduin's opinion, "geometric and biomorphic form with a free line". [ 60 ] [ note 11 ] Af Klint considered abstract art to be the "spiritual precursor of a utopian social harmony, a world of tomorrow."
Erhard Reuwich's pictures for Bernhard von Breydenbach's 1486 Pilgrimages to the Holy Land were long thought to be the source for both the elephant and the giraffe, though more recent research indicates the mid-15th-century humanist scholar Cyriac of Ancona's travelogues served as Bosch's exposure to these exotic animals. [22]
In 1915, the painting entered the Frick Collection in New York City, [13] displayed prominently in what was the living room of Henry Clay Frick, an American industrialist, financier, and art patron. [6] Frick had acquired the painting even though he had little interest in religious paintings, but he valued this painting for its extensive landscape.
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