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  • noun

Words related to figuration

representing figuratively as by emblem or allegory

decorating with a design

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References in periodicals archive ?
Grant's contentions, for me, trouble the figuration of Sojourner Truth as academic feminist theologian; like my conversation with Iraj, they dim, though they do not diminish, my pleasure in Haraway's reading.
He demonstrates the political implications of their need for figuration but treats their responses only in terms of national identity, ignoring their elitism and its personal-political implications.
Knowing of the suffering he withstood as a young child, one can only speculate that the roots of his formless figuration reach too deep to he intellectualized more directly.
Chopin might have had 3 2 1 floating around in his mind (perhaps subconsciously) and then devised melodic figurations that would express that basic progression in a beautiful and particular way.
If it can be said that Poliziano's writings provide a figuration for the "posthumous life of pagan culture," it is one where antiquity encourages him to meditate upon ethical choices regarding his poetry making.
In the history of ornament it is descriptive or illusionistic figuration that is aberrant.
It is within Michael Fried's "Three American Painters" of 1965 that we find the stakes surrounding Pollock's struggle with figuration most provocatively articulated.
On the Wings of a Song" is a small toccato with alberti-like accompaniment figuration that must be balanced against the melody.
The more one examines the canvas, the more the carefully outlined figuration seems to dissolve before the eyes and becomes suggestive gestures.
Ruthe Sheffey's article on Moses, Man of the Mountain focuses on Hurston's rescue of Moses from the Judeo-Christian tradition and his figuration as an African American folk hero and a prototype for African American leadership.
It is often discussed in the light of Hecker's earlier preoccupation with geometry and plan figuration.
But perhaps the contemporary reemergence of painterly figuration (Marlene Dumas, Elizabeth Peyton) allows us to reconsider the significance of his practice.
Version two (C major) becomes a study on white keys, with both hands playing in simultaneous figuration.
It also chronicled the struggles of a midcentury painter to reconcile the twin poles of modernism: figuration and abstraction.
Figuration and chord progressions in the development section are similar to those in a number of classical sonatas and thus offer good preparation for these works.