"Sacrifice of Isaac" Analysis
This paper will focus upon Lorenzo Ghiberti and one of his artistic works called "Sacrifice of Isaac." The paper will provide a context within which to explain and evaluate this sculpture. Referencing art history, world history, and the artist's personal history, the paper will explore and analyze "Sacrifice of Isaac" as a seminal work of a famous artist that serves as a masterpiece representing the entire artistic movement at the time.
"Sacrifice of Isaac" was done in the International Gothic style This is a piece that was a part of the Early Renaissance. It was made in the early 15th century. "Sacrifice of Isaac" is specifically supposed to depict Abraham sacrificing Isaac because God commanded him to do so. The piece contains Abraham, who is moments away from stabbing Isaac with a knife. There is an angel watching this from the sky or heaven above them. There are others who are on the mountain's path having a conversation. One of the people is on a horse. The altar that Isaac is on is very ornate.
Abraham's sacrifice of his son Isaac was supposed to demonstrate or prove Abraham's faith in God. The story in the Old Testament claims that Abraham took his son Isaac upon Mount Moriah, binding him, and placing him on an altar to be sacrificed to God. At the very last moment, right as Abraham was about to kill his son, God stops Abraham, believing that he showed that he was afraid of and had faith in God. Instead of sacrificing his son, Abraham ultimately sacrifices a ram. The story of Abraham and Isaac is located in the Book of Genesis in the Bible, Chapter 22.
It is possible that the story that the sculpture depicts is about various tests in life. Abraham's willingness to sacrifice his own…… [Read More]
Art Culture: Public Space Art
Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections, and community-based projects among others, breaks the public's traditional understanding of art (Glahn, 2000). This critique finds that the public's totalizing classification of public sphere brings about controversy and dialogue over public art displays. By reviewing the famous public art "Tilted Arc" (1981) by Richard Serra, this analysis will show that there are distinct differences between public understanding and professional understanding of public art.
The government with the intention of exhibiting, protecting, and edifying art, commissions public art in America to identifying with national pride. To Levine (2002), artists follow the traditions of public art where it holds the highest moral, aesthetic value, and satisfied the interest of the mass (52). In this context, public art becomes a nuisance is if is deliberately ignores public approval. This policy creates a paradox in the art world, since the art world resists the need to create art that meets the tastes and preferences of states and majority. However, democracies require public art to meet the tastes and preferences of the ruling power and the majority (Levine 53). In this light, public art in public spaces raises controversy in the public because institutional artists defy the majority. Public art that disrupts and reviews the social status, and prevents the community the right to move and inhabit public space is often rejected (Lewis and Lewis 68). This critique uses the example of the "Tilted Arc" in showing how institutional artists defy public sphere, the interests of majority, and creates art that is rejected.
The "Tilted Arc" is an outdoor sculpture commissioned by the General Services Administration, through its program "Art in Architecture Program." The commissioning of this public piece was an attempt by the GSA to reinvent itself,…… [Read More]
Art During Renaissance
The Evolution of Art During the Renaissance
The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (Brotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a reawakening or rebirth of historic and ancient traditions based on the classical antiquity and the inclusion of more recent developments by applications of contemporary scientific knowledge.
The Renaissance was seen as a bridge between the Middle Ages and the modern era. The period also marked a cognitive shift from religious perspectives to a more intellectual and social focus. Classical texts previously lost to European scholars became readily available and included science, drama, poetry, prose, philosophy, and new considerations regarding Christian theology. The medieval ages, a period in European history dated from the 5th to the 15th century preceded the dawn of the early modern era, and was considered a deviation from classical learning but later reemerged with its connectivity to scholarship in the Renaissance (Stokstad 1986, p. 3).
During the high medieval period (1000-1300), architecture and art based on religion is said to have flourished and the art reflected a move toward international Christianity (Renaissance Art, web). Purportedly, there was an attempt to integrate reason with faith. However, interest grew in the values of ancient Rome and Greece, and the Renaissance began to emerge. During the Renaissance, there was a shift in the focus of art from medieval religion-based artistic style towards a humanistic art interpretation because of the emphasis on individuality as opposed to powerful figures such as the gods and political leaders.
Renaissance and the influence on Art
There were many notable artists during the Renaissance period that earmarked the transition from the medieval era. Leonardo di ser Piero da Vinci (1452-1519) was an Italian renaissance painter, scientist, musician, sculptor, mathematician, engineer and inventor. His work has…… [Read More]
This work of art depicts a struggle between two ancestors, the Bungalung man and a Tingari man, the latter of whom was trespassing on sacred land (No author). The copious quantity of dots, particularly the white ones, evinces the full force of the elements invoked by the Bungalung Man to beat his opponent into submission. The power of the Bungalung man is evinced by the fact that he leaves tracks in his wake when walks, which record permanent imprints on the earth. The setting in which this painting takes place, Tjikarri, is a common location in the artist's paintings.
Aboriginal art reflects the sacred elements of the stories of creation for these people. It incorporates a variety of symbolism that is representative of dreaming, which is a means of ascertaining power and hearkens back to dreamtime, in which Aboriginals believe the world and all of its creations were made. Many of the symbols used to reflect the myths regarding creation seem ambiguous to untrained westerners, since they vary according to the context of the work in which they are employed. The explanations themselves either account for observable, physical phenomena or more esoteric sources of power and hegemony, such as found within "Bungalung Men Dreaming."
Works… [Read More]
Art of classical antiquity, in the ancient cultures of Greece and Rome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and Rome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and Rome reverberated throughout history, impacting the art of subsequent eras in Europe. In fact, there can be no absolute "neoclassical" era in art history because of the way neoclassicism evolved throughout the centuries since the fall of the Roman Empire. The arts of the Renaissance borrowed heavily from classical antiquity, as can be seen in Renaissance icons such as Michelangelo's David. Some suggest that medieval art pays homage to classical antiquity, even if the quotations from classical Greek and Rome are not as obvious as they would be in the Renaissance ("Classical Antiquity in the Middle Ages," n.d.). "Interest in the classical past never totally disappeared in the Middle Ages but the 15th century saw the emergence of a different attitude to it in Europe: growing admiration for ancient texts and antiquities was reflected in…the commissioning of art which demonstrated their knowledge of the art of Greece and Rome," (Castelijn, 2012). However, it was not until the 18th century and 19th centuries that neoclassicism as a distinct aesthetic would flourish in earnest. This era of neoclassicism combined the Romantic sentiments extant in contemporary literature and music, with the period of High Renaissance allusions to ancient Greek and Roman media. The era of Neoclassicism in the 18th century is the historic counterpart to classical Greco-Roman antiquity.
Ancient Greece evolved an aesthetic that would be enduring, persistently haunting the consciousness and culture of Europe. Much of the art produced in ancient Greece idealized the human form, making it the first…… [Read More]
Art can come in many shapes, sizes, and mediums, yet one thing that all art has in common is its ability to connect to individuals and enable them to experience catharsis, that is illicit an emotional response. Some of the most awe-inspiring works of art are architectural such as the Lincoln Memorial, which bookmarks the National Mall in Washington, D.C.
The Lincoln Memorial is impressive and its sheer magnitude and size was unexpected. Walking up to the memorial, I realized that it was much larger than I had anticipated and that much like a temple, the actual memorial is located at the top of a series of steps. It was nothing like looking at the back of a penny or a five-dollar bill. The Lincoln Memorial successfully combining the concepts of form and function through its structure (Pearson Publication, Inc., 2009, p. 164). The memorial itself was designed by Henry Bacon, a noted Beaux-Art architect, and was designed to look like a Greek temple. In a combination of form and function, the memorial is surrounded by 36 white Doric columns that are representative of the 36 states in the Union at the time of Lincoln's death. Also, the Lincoln Memorial has carved into its outside border the names of all the states in the United States. Like many ancient Greek temples, the Lincoln Memorial is constructed to "worship" and honor President Abraham Lincoln for his contributions to the country and society during his time in office. Bacon intentionally modeled the memorial after the Parthenon and maintained that it would be fitting to model the memorial after Greek architecture, as Greece was the birthplace of democracy (National Park Service, 2012). This contention is sound as the memorial overlooks the National Mall, which terminates at the Capitol, where Senators, Congressmen, and Congresswomen work to ensure that democracy lives on. Additionally, Bacon insisted that stones from all over the United States be used in the construction of the memorial building, which further symbolically ties the monument to…… [Read More]
Pre-Task Learning: Class discussion/reading of the history of the Spanish Civil War and its relationship to the approach of World War II. Continuing discussion on the specific context of the painting's creation and display, and of Pablo Picasso and his emerging and shifting abstract style of painting. Preliminary open-form discussion of possible interpretations of the painting, beginning with the more obvious macro-level signs in the painting on touching on other symbolic aspects (the Harlequin figures/patterns, animal representations, etc.).
Task Expectations: Each paper should contain personal interpretations and a reflection of personal reactions to the painting that are connected to the historical facts and larger trends discussed. Discussion of individual elements as well as the composition as a whole and the relation of the individual elements discussed to each other and to the meaning of the work as a whole should be present in all completed papers.
Grade 10 Lesson Plan
Primary Task: Create a new work of art that demonstrates a reflection of personal feelings towards a specific event or period of time, and a conscious and rational commentary on this event/period and the social/political impact it had.
Learning Objective: Students learn to appreciate their own ability to interpret and comment on historical events, and to understand the larger ramifications of political events/historical periods. Aesthetic and symbolic planning become more familiar to students, and students' skills at communicating in abstract and symbolic means are improved.
Pre-Task Learning: Students will each select their own historical period or event and write a brief proposal outlining hwy they think this period/event is significant, what their interpretation of the period/event is and why it would make a good subject for a piece of art, and what their general plan in executing the final artwork is. Students will engage in self-directed study of their time period/event to obtain a better understanding of the selected period/event and to expand their knowledge and awareness of potential signs, symbols, and styles to be used.
Task Expectations: All student artworks should be clearly related to and representative of the selected period or event with a brief verbal explanation. Artworks should be stylistically cohesive (or non-cohesive as a conscious and…… [Read More]
Artist: John McLaughlin
Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. A career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary colors. The artist uses correspondingly constrained forms and shapes. A champion of absolute abstraction, McLaughlin sought to stimulate "the viewer's natural desire for contemplation without benefit of a guiding principle." Untitled #14 exemplifies Mclaughlin's philosophy of abstraction. Using only black and white in solid architectural blocks, the artist encourages the viewer to speculate on the meaning of art itself.
Artist: Richard Anuszkiewicz
Paragraph: Trained at the Yale University School of Art, Richard Anuszkiewicz's career spans several different and seemingly divergent artistic styles. He was also a forerunner of the op-art movement. Op-art plays with optical illusions through the seemingly simple arrangement of forms, lines, and colors on the two-dimensional canvas. Thus, a two-dimensional plane can convey three-dimensional reality. In paintings like Equivalent, the artist invites the viewer to experience the interface between perception, cognition, and aesthetics. Anuszkiewicz describes the painting as "archetypal," in that it serves as a prototype of form, color, and shape. Equivalent also connotes exquisite balance, which is why the painting may be placed horizontally or vertically for different effects.
PAINTING No. 3
Seated Man with Blue Face and Red Hand
Artist: Nathan Oliveira
Paragraph: Born in Oakland in 1928, Nathan Oliveria went on to become one of the most formidable figures in 20th century Bay Area art. Oliveira would also go on to teach art at Stanford University before his death in 2010. The dynamic career reveals various influences, as the artist has said that he…… [Read More]
Along with Georges Braque, Fernand Leger and Pablo Picasso were firmly at the forefront of the cubist movement in modern art. Cubism sprouted from Picasso's experimentations with collage, along with Braque, but later morphed into an interpretive and expressive style of painting that heralded many related movements in abstract modern art including futurism. As Fitz puts it, Picasso used the cubist style to express the things he could not see, but which he knew were there; the things that everybody is "certain of seeing," but which are not depicted on a traditional canvas (228). As a result, Picasso reinvented painting, and reinterpreted what the function of painting was. Leger deserves credit also, for he too pursued the " quest for a means by which to accurately describe three-dimensional objects on a two-dimensional canvas," (Spector). Leger and Picasso developed totally unique and distinct brands of cubism, even if their formative influences were similar. For example, Spector notes that both Picasso and Leger built on the work of Paul Cezanne, who began to deconstruct shapes and forms for more probing insights into how objects can be represented on a two-dimensional plane. Paintings like Picasso's 1908 and 1910 versions of Femme a la mandolin and Leger's 1912 Le modele nu dans l'atelier reveal the similarities and the differences, the convergences and divergences, between the styles and techniques of these two cubists.
Comparing these paintings directly, it is apparent that Picasso and Leger used differing degrees of abstraction. Picasso's 1908 Femme a la mandolin is clearly cubist, but it is far from being a fully abstract work of art. Likewise, the 1910 version of the woman with a mandolin is still representational, even if it is creeping towards eventual abstraction. The paintings depict a woman playing a mandolin quite clearly. Although Picasso chooses to depict the woman without facial features, and the mandolin without strings, both subjects are clearly discernable. There is also part…… [Read More]
Art Analysis: Art21
After reviewing the artists from Art21, the artists chosen are Pierre Huyghe and AI Weiwei as the subjects of this paper. The pieces the paper will be "This is not a time for dreaming" by Huyghe and "Forever" by Weiwei. Both pieces are installation pieces although the artists are not classified under the same grouping on the Art21 website. Weiwei is listed as "Featured in Change" and Huyghe is listed as "Featured in Romance." Though they are not featured or classified in the same group, their respective groups are related. There are several different kinds of people in the world for whom change is romantic. Weiwei is a renowned activist as well as renowned artists. Artists typically have a deep passion within that they express via their art. Therefore, Weiwei could see the connection between romance and change. For the native Parisian Huyghe, romance may very well be an expression of change. The paper will perform analyses and provide insight into the intention & meanings of their works. The installations of these very different artists are similar in that they communicate to the audience with subtlety and pluralism.
This is not a time for dreaming by Huyghe is an installation and an interactive piece. The piece required activity by a puppeteer to manipulate the marionette that resembles the artist. Presumably, Huyghe would operate the puppet version of Huyghe himself. Huyghe is often an artist that is critiqued and criticized for his connection or fascination to the post modern. Certainly using the marionette version of a real person calls to mind a film such as Being John Malkovich (1999) directed by Spike Jonze. The film was a meditation on states of existence including dreaming and occupying another person's mind while still retaining one's distinct consciousness. The film additionally has John Malkovich control puppet versions of himself in various sizes as well as for his co-star, John Cusack who is a puppeteer by trade. Huyghe's installation then participates in and extends the discussion and play…… [Read More]
Currently on loan from the Frick Collection in New York, Hans Memling's "Portrait of a Man" is unique among paintings in the Norton Simon Museum, which does not otherwise boast a collection heavy in Flemish art. The Memling portrait is executed in oil on oak panels, and completed in the mid-1470s. It is relatively small in scale, at just over a foot high and nine inches wide.
The museum's description of the piece and the artist indicates that Memling was actually born in Seligenstadt, Germany and later moved to Bruges in 1465. Memling was trained as an artist in Brussels, alongside Rogier van der Weyden. Memling enjoyed a high degree of career success as a painter in Bruges. The "Portrait of a Man" in particular "testifies to the artist's popularity and renown during his lifetime," ("Memling's 'Portrait of a Man' on loan from The Frick Collection"). The portrait depicts a wealthy patron, who is most likely one of the "prosperous bankers or merchants who were eager to have their likenesses immortalized by Memling, who had already achieved wide fame and fruitful private commissions in his adopted city," ("Memling's 'Portrait of a Man' on loan from The Frick Collection"). In spite of his being immortalized, the subject of the portrait remains anonymous. The subject even appears humble, wearing nondescript black robes and has no apparent distinguishing features of his social class or political rank.
The portrait is composed with exquisite balance, as if the wooden canvas has been cut in half by a measuring tool and marked by a horizontal line designating the horizon. The bottom half of the composition is consumed almost entirely by black swathes: there are only a few patches of the wooden canvas that are not touched by black paint below the midpoint of the painting. The bulk…… [Read More]
Art History: The Impressionists
The word baroque has no clear origin. Some says that it came from a medieval philosophical word connoting the strange or the ridiculous, some consider it as derived from the Spanish barueco or Portuguese referring to an irregular shaped pearl. As 18th century was coming to an end baroque find its way to art criticism terminology in form of epithet leveled against art of the 17th century, though it later faced criticism that it was too strange or bizarre to merit serious study. Some of the baroque images can be viewed through this link, http://loki.stockton.edu/~fergusoc/lesson7/lect7.htm
Jakob Burckhardt among other 19th century Swiss cultural historian had a view that baroque was the decadent end of the Renaissance, and so was his student Heinrich who identified the essential differences between the art of 16th and 17th century describing baroque as a fully distinct art but not a decline or a rise from classic. Art of baroque captures a wide range of regional distinctions. Sometimes it becomes challenging when somebody wants to label any related two distinct artists such as Gian Lorenzo Bernini and Rembrandt as baroque, however despite such differences most of them have common themes as well as stylistic preoccupations that each artist have handled in his own way.
For a deep understanding of the different forms of existing baroque art, knowledge of their historical context will be of great importance. The first modern age has been linked to 17th century. This was when there was a continuous expansion of the world's human awareness. Art became more influenced by numerous scientific discoveries, for instance investigations of the planets by Galileo accounted for astronomical accuracy within most of the then paintings. (Thames & Hudson, 1985). Revelation that showed the earth to never exist at the center of the universe went altogether with the crop up of pure painting in terms of landscape devoid of human figures. Colonization policies and the active trade of…… [Read More]
ART CRITICISM AND THEORY: Question: How constraints practices artists/designers/architects influence make? Make reference TWO response: - Site - Views art critics historians - Historical precedents - Materials technologies - Time - Audience expectations.
Post-modern art and theory
Artists in the post-modern era realized that they dealt with a lot of pressure coming from the public and that it was important for them to employ attitudes that would reflect positively on their works. Even with this, people need to understand that artists have always been constrained and that being limited actually had a constructive effect on most individuals. Chaos is difficult to discuss when regarding things from an artistic point-of-view, as while some people consider it to be an important asset, others believe that it is better for an artist to work with a limited amount of tools because this makes it possible for him or her to actually demonstrate that he or she is different.
Bill Viola's 'painting' Silent Mountain is one of the most intriguing artworks in recent years. The fact that this paper relates to the video as being a painting is largely owed to the feelings that it triggers as the storyline progresses. Its silence dominates the whole motion picture and makes it possible for viewers to consider that they are practically watching a painting come to life and that they actually understand what the actors are going through as their facial expression changes and as they appear to become consumed by their thoughts.
Painters are limited by their impossibility to make use of concepts like time, movement, and sound in their works and Viola apparently wanted to create art that would change people's understanding of paintings. The artist's work virtually pervaded the world of painters and succeeded in providing viewers with unique feelings as they realized that they could appreciate both the beauty of a painting and a storyline accompanying the respective artwork. Silent Mountain is inspired from Dieric Bouts' painting "The Anonciation," an artwork portraying the Archangel Gabriel while he delivers the news to Mary.
Viola appears to be dedicated at creating videos that are focused on the relationship between past and present. The artist's "Ocean without a shore" is probably one of the most suggestive works that have ever been created. He used the church of San Gallo with the…… [Read More]
Art Therapy a form of psychotherapy?
Since the middle of the twentieth century, artistic expression and creation have been seen as valuable assets in the context of therapy and rehabilitation. The impact that art therapy has had on the field of psychology is undeniable, and its influence has contributed to the development of various diagnostic tools and interventions used in psychotherapy. The practice of art therapy involves the process of image making and its resulting products, as well as the relationship dynamic between the client and the therapist in relation to the image and/or each other (Edwards, 2004). Specific definitions of the term 'art therapy' are conflicting and numerous (Edwards, 2004). Currently, the British Association of Art Therapists perceives art therapy as process of practitioners enabling psychological and emotional growth and change in clients through artistic creation, and the relationship between the client and the therapist is viewed as integral to the therapeutic success of art therapy (Karkou & Sanderson, 2006). Several debates exist with the art therapy profession regarding its own identity (Karkou & Sanderson, 2006). In particular there is some disagreement among art therapists in regard to whether art therapy is a form of psychotherapy. The following discussion explores this conflict through an examination of the theoretical contributions of a few prominent figures in the field of art therapy.
There is concern surrounding where art therapy fits in as a therapeutic modality, and whether it could be considered a form of psychotherapy. Misconception exists among many art therapists that the origins of art therapy exist solely in the domain of psychoanalysis. The term 'art therapy' was actually coined in 1942 by Adrian Hill, an artist, who pioneered the use of art as a therapeutic modality (Hogan, 2001). Hill was a landscape and impressionistic painter and taught life and anatomy drawing classes at Westminster School of Art until he became ill with tuberculosis in 1938. While he was in a sanitorium being rehabilitated for tuberculosis, Hill became interested in the use of art as therapy. He observed improved his own psychological, physical, and emotional healing as a result of…… [Read More]
Art One-Point Linear Perspective in the Renaissance
One-Point Linear Perspective in the Renaissance
In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, "
Every human being who has ever lived from Pleistocene times to the present, has experienced in vision the apparent convergence of parallel edges of objects as they extend away from our eyes and seem to come together in a single "vanishing point" on the distant horizon… (Edgerton, 2006)
However, from an art historical perspective it is also true that linear or single-point perspective has not always been an accepted part of painting and artistic creation. It is in fact only fairly recently in history that perspective has been seen to be an important part of the picture space of the artwork. Furthermore, it is also mainly a Western artistic convention and formal conventions of perspective are not found in many artistic traditions, such as in Eastern art. Perspective then can be seen as a culturally specific and learned artistic method. It has also been deeply questioned by artists in the 19th and 20th centuries and its dominance in terms of composition of pictorial space in painting has been denied by many modern and postmodern artists.
The following discussion will look at the history of perspective from the Early Renaissance and also discuss both its acceptance and rejection as an as important component of the picture space by modern artists. .
Historical Background and Overview
Perspective has been challenged by other views and representations of reality in the history of art. As one study notes, "In very early times, most art was depicted with a flat picture plane. While this art was meaningful and symbolic, it was not very visually accurate (Reverspective).
Edgerton ( 2006) points out the before the Renaissance, linear perspective was not the norm. This view…… [Read More]
Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all." (Cole, xx) the purpose of the work during the renaissance was mostly likely for a prominent individual's bedroom furniture or a piece of wainscoting.
Some art connoisseurs have considered that the detailed wasps at upper right may have been a link to the popular Vespucci family of Florence and other connoisseurs have decided that the wasps are nothing more than a symbolism for Venus and the stings of love. "A lost Classical painting of the marriage of Alexander and Roxana was described by the 2nd-century Greek writer, Lucian. It showed cupids playing with Alexander's spear and armor. Botticelli's satyrs may refer to this. Mars is sleeping the 'little death' which comes after making love, and not even a trumpet in his ear will wake him. The little satyrs have stolen his lance - a joke to show that he is now disarmed." (Venus and Mars)
VI. VISUAL ANALYSIS:
Botticelli's work is bright and cheerful as the satyrs play fully toy with Mar's tools of war. Venus is lounging with her long beautiful hair hanging carelessly over a white heavenly dress trimmed with gold. An obviously exhausted Mars is cloaked in only a loin cloth and his fast asleep.
The details of his body show strength and stature and his long curly hair his thick and full. The four satyrs in the work have playful looks as three steal or play with the heavy spear and one sneaks under Mars to take his sword. The fourth satyr's head is completely engulfed under Mar's heavy steel and gold helmet.
The scene looks as though there are four playful children being mischievous as a daunting mother of friend looks on during the hiatus of the man of the house. The lighting is bright and the color is very detailed. For example,…… [Read More]
People not only make art, but also choose which objects should be called art" (Art Pp).
Art critics refer to the work of Bulgarian-born Christo and American Robert Smithson as land art and earthworks (Art Pp). In February 2005, Christo and his wife, Jeanne-Claude, fulfilled a twenty-six-year-old dream art project when 7,500 saffron colored drapes hanging from 16-foot-high steel frames were unfurled as they wound their way through twenty-three miles of footpaths through Central Park (Sanders Pp). During a recent visit to New York City, reporter Bob Ray Sanders made a special stop to the park to witness "The Gates" for himself (Sanders Pp). His describes the contrast of the bright orange colors with the "grayness of stark barren trees and shrubbery did give the appearance of what the artists called a 'visual golden river' with many tributaries meandering through the park' (Sanders Pp). Sanders said that the bursts of color and the sheer size of the project left him awed, however, his Pakistani taxi driver merely uttered, "What is that," to which Sanders replied, "that's art" (Sanders Pp). The taxi driver gasped and said, "And that's art." when Sanders told him that the project cost $21 million (Sanders Pp). "That's not art," said the taxi driver, "That's crazy...$21 million for this...." (Sanders Pp). The taxi driver clearly did not appreciate "The Gates" as art or anything else and believed that the $21 million could have been given to people who need it, like the tsunami victims (Sanders Pp). When Sanders told him that people from all of the world were coming to New York City to see "The Gates," the driver retorted, "From all over the world? I wouldn't come from Queens to see this" (Sanders Pp). Sanders found the project magnificent and definitely art, for "It has a way of evoking emotion - positive or negative - and when it speaks, it can speak to the senses as well as the soul" (Sanders Pp).
People are drawn to art because it moves them, inspires them, stirs something deep inside. Certainly, there are those who will view "The Gates" and feel awed, while others will feel puzzled, and yet others who will be determined to feel something simply because the artists are world renown. The beauty of art is truly in the eye of the beholder.
Works… [Read More]
Splashes of color like red and several shades of blue are added to the collage in a "dragonfly, wing-like" formation. A cutout photograph of a boy is pasted on the "wing" of a lighter shade of blue, perhaps to note a sense of calm to his surroundings.
The Hawkins' exhibit will consist of 80 objects, a retrospective of his nearly a quarter of a century career. The work is described as "at its core, about the pleasure of intense looking." Third mind is described as referring to another piece of Hawkins' work, "Richard Hawkins: Of two minds simultaneously," which means to be undecided, uncertain or unsure, the description states. Hawkins is aware of the duplicity that this body of work creates, which is stated to be intentional.
The Art Institute of Chicago was founded in 1879 as a school and museum. The museum holds art from African-American artists to silk textiles. The museum is actively interested in preserving their art similar to the George Eastman House International Museum of Photography & Film, with a staff of 20 conservationists, so viewers and visitors can enjoy historic culture for many years to come.… [Read More]
It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art.
Even in the modern era, art is still entwined with money. The artist needs to live, sure. But that is not the only connection between art and money. Art galleries exist because art has become big money. Art symbolizes wealth. No ordinary person can afford "real" art. Ordinary people purchase prints and reproductions, not original pieces by known or up-and-coming artists.
Art is like any other commodity now, for better or for worse. Artists have a greater chance than ever of making a viable living, given the plethora of opportunities in graphic art and design. At the same time, artists must also be adept at marketing. This is why artists themselves might find themselves in need of an accountant who understand the intricacies of working with a creative freelancer. Similarly, an accountant might work with an art collector or a gallery. The art collector is typically a wealthy person who views art as an investment. No longer the domain of the art patron, art is now a fiscal investment like bonds or futures.
This is why I do not view art and accounting, my field of interest, as incompatible. As an accountant, I will be working with clients both wealthy and not. My clients will have varying talents and varying interests in art. Those who are art investors might be happy to know that with my knowledge, I understand their interest in investing in art and maintaining that investment.… [Read More]
Later, perhaps inevitably as a consequence of his fascination with cinema, Warhol began to make films and to engage in non-static works of performance-based art ("Andy Warhol," PBS: American Masters, 2006).
In such art of the 1950s the way in which the art was perceived was as equally important as the image of the art. Disposable and even trashy images and products could be, with the use of irony and a performance space that put the works in 'quotations,' turned into artistic works, to make a statement about American popular culture. Not all Pop Art 'happenings' were inspired by cinema, however. For example, Claus Oldenberg 1961 created a plastic 'store' of manufactured goods, like pies, that reminded him of his childhood general store: "Unlike the slick, mechanical appearance of some pop art, they [the pies] are splotchy and tactile. Oldenburg's manipulation of scale and material unsettle our expectations about the objects he makes, forcing us to see them within a different frame of reference ("Teaching Art Since 1950" NGA, p. 39).
Warhol's work and other artists involved in the Pop Art movement underlined artists' dissatisfaction with the commercialism endemic to American culture of the prosperous Eisenhower era. The encroachment of standardized visual images because of the rise of television in American households, the prosperity of the postwar era coupled with the fear of the looming specter of the Cold War and the atomic bomb, plus the conformity of the era, caused artists to parody aspirations to permanence. The disposable nature of popular culture was explored through the venue of performance art. This art seemed to celebrate what it parodied, while also embracing its media by elevating it to the status of art.
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