Pablo Picasso Essays Examples

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Picasso 1932-1935 the Renowned Art

Words: 3028 Length: 10 Pages Document Type: Essay Paper #: 22612121



3. The paintings

In the light of the above discussion, the paintings that Picasso created with Marie-Therese Walter as his model during the period of their relationship must be understood and analysed against the background of two issues. The first, which has been briefly referred to, is the influence that relationships with women in Picasso's life had on his paintings. The second is that influence of other artistic styles and ideas.

Picasso could not escape the influence of the Surrealistic movement which emphasized the play of imagination and the distortion of the real. Another influence was the " rivalry" with Matisse. During the 1930's there was a change in Picasso's style form his neoclassical period. As referred to previously, the painting The Three Dancers was indicative of this change in mood and style. Alfred Barr calls this painting"... 'a turning point in Picasso's art almost as radical as the proto-cubist Demoiselles d'Avignon'. Following this he became concerned with the mythological image of the Minotaur and images of the Dying Horse and the Weeping Woman. The period culminated in his most famous work, Guernica..." (Chilvers 476)

Surrealism is also an important element in understanding the paintings of this period. Picasso uses…… [Read More]

References:
http://www.questia.com/PM.qst?a=o&d=99009989

Boeck, Wilhelm, and Jaime Sabartes. Picasso. New York: Harry N. Abrams, 1955. Questia. 3 Aug. 2006 http://www.questia.com/PM.qst?a=o&d=99009991. http://www.questia.com/PM.qst?a=o&d=74370572
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Picasso Matisse Modernism and Confrontation

Words: 629 Length: 2 Pages Document Type: Essay Paper #: 17835243

We can appreciate the emotional sentiment of the Picasso work, which only superficial research reveals was inspired by a brothel in Barcelona. To an extent, Picasso offers us a dark perspective on either the subject or, as one might suggest based on the confrontational stance of the painting's subjects, the experience of visiting these women. Indeed, as these women look out from the canvas, presenting themselves with stoic expressionless faces, they invoke a sense for the viewer as being one in the brothel presented with a set of distinct but equally repugnant choices.

The Matisse painting, by sharp contrast, is deeply inviting but never directly confronts the viewer. The entire scene is framed by a canopy of trees that suggests the viewer to be peering into a clearing from a distance. The voyeuristic sentiment is only further reinforced by the tendency of those who appear to be facing forward not to engage the viewer directly. A woman who is shown sunning herself toward the viewer, shows no sense of awareness that she is being seen, or at least establishes no connection with the viewer's gaze. Two figures to the left also appear to be facing forward, but their features are…… [Read More]

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Picasso's Psyche as Seen Through

Words: 1854 Length: 6 Pages Document Type: Essay Paper #: 28928856

The objectification of the female form in The
Studio illustrates how as a mode of this period his increasing openness to
more traditional curvature and anatomy would merge with cubism to produce
an utterly unique but decipherable perspective on human sexuality.
Accordingly, "these appearances in works such as Woman in an Armchair
and its related studies are mere snippets of anatomy within a Cubist
framework, yet they signal Picasso's uneasiness with Cubism." (Fitzgerald,
49) The uneasiness would not eliminate its presence but show cubism in the
light of surrealist themes. Its garish and unsettling proportions become
ultimately more organic and shocking in this way. To Picasso, this was not
a goal, but an acceptable end to art conducted appropriately. So he would
indicate "when, one day, someone said apropos of nothing in particular that
there can be no sense of shame in art, he answered that painting could
paint anything, provided that it was really painting. 'Only when painting
isn't really painting can there be an affront to modesty,' said he."
(Picasso & Ashton, 15)
One must imagine that in this respect, Picasso admonished the need
for honesty in process and presentation. Certainly, it was neither form
nor the philosophical…… [Read More]

Works Cited:
Fitzgerald, M.C. (1996). Making Modernism. University of California
Press.

Flint, L. (2007). Pablo Picasso. Guggenheim Museum. Online at
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Picasso The Image of Modern Man Picasso

Words: 1523 Length: 5 Pages Document Type: Essay Paper #: 74434811

Picasso: The Image of Modern Man

Picasso came to Paris from Malaga, Spain, a town known for its bull-fighters. Picasso in his less experimental days he depicted these bull fights in a number of pencil sketches that captured the flare, dynamism and thrill of the arena. However, he never content to simply reflect in a realistic way the world around him. Society was changing the very first years of the 20th century: the modern world had lived through the Reformation, the Revolution and Industrialization. Now it was becoming a world where new socialistic and atheistic ideologies were competing with old world beliefs still being clung to by certain leaders (like Franco in Spain, for instance). Picasso saw the importance of fashion and trends in this new age of modern art. In the first years of the 20th century, he painted in blues -- then in pinks (the Rose Period) -- then in cubes (starting with Georges Braque the movement known as Cubism). Gertrude Stein became his patron and in 1907 he painted Les Demoiselles d'Avignon, "usually regarded as his most important painting" (Johnson 658). Thirty years later he painted Guernica for the Communist-supported Republicans in Spain. This paper will analyze…… [Read More]

Sources:
Greenberg, C. "Avant-Garde and Kitsch." Partisan Review, Vol. 6, No. 5 (1939): 34-

49. Print.
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Les Demoiselles D'avignon by Picasso

Words: 945 Length: 3 Pages Document Type: Essay Paper #: 3944891

Figures are created mostly by the contrast of colors. The use of drawing line is almost nonexistent, however the contours being very clearly defined. The colors contradict each other alternating bright cold shades of blue with warm ochre and pink. The vibration created by blue and white together brings cold atmosphere to the entire palette.

The structure breaks the laws of perspective. On the left side the composition brings a succession of straight figures, with tense rhythm. On the right the arrangement spreads, with characters in open position that draw attention to their caricature masks.

The figures are set in the world of unrealistic: there are no lights or shadows to display their volume. The bodies and background are flat and seem to melt with each other. There is no diversity of levels or third dimension suggested. The blue tones, contoured by white, accentuate the flatness of the piece.

The use of logic in the drawing is annulated by the way the figures contradict their own position: the portraits show front eyes, but profile noses. Perspective became an element used with complete freedom, without respecting the classical rules of logic. The artists uses different perspectives on the same figure.

The…… [Read More]

References:
Penrose, Roland. Picasso, his life and work. Los Angeles: University of California Press, 1981.
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Artworks a Comparison of Picasso

Words: 717 Length: 3 Pages Document Type: Essay Paper #: 4364976



Like Picasso, Van Gogh (though with an old world soul) would find fullest expression once landing in Paris. After a year of being in the company of other Impressionists like Paul Signac -- and being in a city that itself so filled with history, Catholicity, and romance -- Van Gogh's soul brightened from its gloomier days in search of a Protestant mission: his 1886 painted bulbs are the reflection of a spirit that has found something fresh and intense. The orange-red bulbs are off-set by the pointillist backdrop of blue. The copper vase brilliantly brings the whole work to life, reflecting a seemingly new light in Van Gogh's life and style. Here in Paris he was at home. One need not wonder at the new light that is reflected here: according to "the painter Emile Bernard…Vincent was courting "La Segatori," the Italian owner of the Tambourin cafe on the boulevard de Clichy, and used to give her paintings of flowers, "which would last forever" (Fritillaries, Musee d'Orsay, 2006).

Whether Van Gogh was painting Fritillaries for a love interest or for his own does not take away from the fact that Van Gogh's spirit was now alive with an intensity that…… [Read More]

Bibliography:
Fritillaries. Musee d'Orsay. 2006. Web. 26 July 2012.

Greenberg, C. "Avant-Garde and Kitsch." Partisan Review. 6.5, 1939: 34-49. Print.
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Art Along With Georges Braque Fernand Leger

Words: 942 Length: 3 Pages Document Type: Essay Paper #: 69465412

Art

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…… [Read More]

References:
Dickerman, Leah. Inventing Abstraction. New York: The Museum of Modern Art, 2013.

Fitz, L.T. "Gertrude Stein and Picasso: The Language of Surfaces." American Literature. Vol. 45, No. 2. May 1973.
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Modernism in Art Triumphed From the 19th

Words: 1312 Length: 4 Pages Document Type: Essay Paper #: 85593257

Modernism in art triumphed from the 19th century onward and in the early 20th century virtually changed the way art came to be perceived. From the Abstractionists to the Cubists to the Surrealists to the followers of Dada, the modernists continually reinvented themselves with newer and wilder movements, firmly rejecting tradition and all its preoccupations. It was only fitting, however, that modern artists should break so completely with the past: modern society had split from the old world with the Protestant Reformation, the Age of Enlightenment, the Scientific Revolution, and the Romantic Era, all of which followed one on the heels of the other. This paper will trace the history of the final era -- the modernist -- by examining five works of five different painters of the modernist era: Franz Marc's "Fate of the Animals," Pablo Picasso's "Guitar and Violin," Marcel Duchamp's "found" artwork "Fountain," Salvador Dali's Surrealist masterpiece "The Persistence of Memory," and Piet Mondrian's "Composition with Red, Blue, and Yellow."

As European society sought to understand itself according to new Romantic/Enlightenment ideals (like the ideals of the French Revolution -- liberty, fraternity, equality), many artists sought to reflect the societal revolution around them by initiating artistic revolution.…… [Read More]

Works Cited:
Dali, Salvador. "The Persistence of Memory." Wikipaintings. Web. 14 Feb 2013.

Duchamp, Marcel. "Fountain." Tate.org.uk. Web. 14 Feb 2013.
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Political Statements and Forms of Expression Poetry and Painting

Words: 3122 Length: 10 Pages Document Type: Essay Paper #: 3373897

Art

"Howl" and "Guernica" Outline

The paper demonstrates the ways in which both pieces of art contemplate and express multiple themes, including those of religion, morality, happiness, life-affirmation, and freedom.

"Howl" is a poem that is both a mourning and a celebration of life.

"Guernica" is an expression of pain and war.

Both works of art have many themes and many of the same themes.

Ginserb, the 1950s, and "Howl"

He composed the poem in the middle of the 1950s, one of the greatest decades in history for mainstream America.

He is heavily influenced by previous poets and by his own lived experiences.

Howl" shows readers how they can be connected to spirituality, religion, and what is sarcred or holy with, and without the use of the formal church.

Poetry is another form of storytelling that is best when read/performed aloud.

Howling, Expression, and Jazz

A. If we are howling, either out of pain or out of pleasure, we are alive and we are having strong feelings.

B. Poetry is a form of creative expression; this poem is a howl of words.

C. He is howling for his whole generation, not only himself.

D. The poem is an individual expression…… [Read More]

Bibliography:
1. Raento, P., & Watson, C.J. "Gernika, Guernica, Guernica?: Contested meanings of a Basque place." Political Geography, Vol. 19, Pgs 707 -- 736, 2000.

The authors discuss the many ways to interpret "Guernica." The authors focus upon why and how Picasso created such a dense work of art. The authorts furthermore explore and offer various ways for readers to interpret the painting from a historical and contemporary perspective.
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Alk War in Art When

Words: 1397 Length: 4 Pages Document Type: Essay Paper #: 82446150

The viewer is not directed to mourn the bodies that cover the ground, but rather celebrate alongside the victors, who charge forward carrying guns and swords. Instead, the piled corpses are merely a means to an end, a soft topping to the pile of rubble that is apparently necessary to secure Liberty and allow her to take charge.

The contrast in theme is particularly strong because the style of either artist does not immediately feel conducive to their apparent goal, but upon closer examination . While Delacroix is decidedly more "realistic" than Picasso, the realism of his corpses does not direct the viewer to sympathize with them, but merely adds some sense of gravity to central image of a glowing Liberty directing "the people" onward with a rifle and French flag. Thus, while one might imagine Delacroix's "realism" would instill some sort of thematic or ideological realism into the painting, it actually does the opposite. Similarly, one might initially imagine that Picasso's abstraction and skewed perspective would not be ideal to represent the brutal reality of the bombing of Guernica, but in fact, the horror of the event actually becomes more tangible through the impossibly twisted faces, awkwardly jutting limbs,…… [Read More]

Resources:
Athanassoglou-Kallmyer, Nina. "Cezanne and Delacroix's Posthumous Reputation." The Art

Bulletin 87, no. 1 (2005): 111-129,5.
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Compare Vienna and Paris in the Decade 1900-1910

Words: 2497 Length: 8 Pages Document Type: Essay Paper #: 75167778

Vienna and Paris

in the Decade 1900-1910

Vienna and Paris in the Decade 1900-1910

Europe of 1900 -- 1910 saw the rise of several cultural meccas, including Vienna and Paris. Vienna was a center of literary, cultural and artistic advancement in "middle" Europe, enjoying booming population and innovative developments in all those spheres, even as it endured the rising tide of anti-liberal, anti-Semitic Christian Social forces. In keeping with this innovation, Vienna's music enjoyed avant garde developments of Art Nouveau from Paris, notably represented in Vienna by the works of composers Gustav Mahler and Arnold Schonberg. As Vienna became the literary, cultural and artistic center of "middle" Europe, Paris became the literary, cultural and artistic center of the World. Drawing exceptionally gifted people from the entire globe, Paris boasted the first Olympics to include women and the World's Fair of 1900. Reveling in its invention of Art Nouveau, Paris also exerted worldwide magnetism on artists such as Pablo Picasso and Henri Toulouse-Lautrec, who already were or eventually became household artistic names. Parisian music also flourished during this time in the Art Nouveau-engendered form of "Impressionism," notably represented by Claude Debussy and Maurice Ravel. In sum, the literary, cultural and artistic…… [Read More]

References:
Bloy, M. (2011, January 5). The third republic: 1870-1914. Retrieved from Historyhome.co.uk Web site:  http://www.historyhome.co.uk/europe/3rd-rep.htm#dreyfus 

Bonyhady, T. (2011). Good living street: portrait of a patron family, Vienna 1900 . New York, NY: Pantheon Books.
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Portraits of Gertrude Stein an

Words: 938 Length: 3 Pages Document Type: Essay Paper #: 81965376

250). At this point in his career, Picasso could represent Stein quite well. The style is neither abstract nor entirely avant-garde: it is reflective, slightly off-kilter, but encompassing of the subject and her character.

Picasso's portrait of Gertrude Stein, therefore, must be considered the better of the two, even if Rose's appears to be the more dynamic. Rose was an imitator, not exactly an orginal -- but then, could the same be said of Picasso? Both were feeding into the whirlwind that was modern art, constantly exploding and changing the dynamic of form and expression. Picasso's Stein, however, retains the dignity of the brush for a moment and is a thoughtful representation of a woman whose own influence over the art world was so great.

While, as Johnson says, Picasso's "distorted paintings of women are closely linked to the pleasure he got from hurting them, both physically and in other ways," (p. 256) none of that is depicted in his portrait of Stein. The painting is respectful to say the least, and showed what Picasso was capable of in terms of representative art work. There is no evidence that Picasso "ruled over" Stein -- quite the contrary, from the grandeur…… [Read More]

Sources:
"Art: Blossoming Career." Times. 1949. Web. 23 June 2011.

Greenberg, C. "Avant-Garde and Kitsch." Partisan Review. 6.5, 1939: 34-49.
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Naturalism in Art -- a

Words: 682 Length: 2 Pages Document Type: Essay Paper #: 34021528

This is another example of how truthfulness and realism are not always synonymous. The naturalness of the bathers is shown by making the lines of their bodies similar to the lines of the natural landscape.

Henri Matisse's "The Joy of Life" is not even an arrangement of posed figures like Cezanne and Picasso's works of art, rather it is a cacophony of color and the rounded, nude sensual female figures engage in various activities all over the canvas. The truth of the joy of life is not represented in a singular principle of beauty, or a clear, narrative scene or pose, but in an almost confetti-like fashion of figures. Over Matisse's canvas different women, some with faces, some without faces, engage in traditional activities of joy, like dancing in a circle or playing the pan pipes. These activities might be also found in Renaissance paintings, but the level of enthusiasm for life in the artist's heart is shown is the artist's clear stylistic alteration of earlier traditions. The depiction of the figures is flat, but not to create a sense of coolness, as in Picasso, but to allow the viewer a panoramic view of a multiplicity of activities from a…… [Read More]

Works Cited:
Stokstad, Marilyn. (2005). Art History. New York: Harry N. Abrams, Inc.
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Art the Portrait of Joseph Roulin by

Words: 642 Length: 2 Pages Document Type: Essay Paper #: 83995918

Art

The Portrait of Joseph Roulin by Vincent Van Gogh is Van Gogh's representation of his friend and idol, Joseph Roulin. The portrait is a drawing, rendered in brown ink and black chalk. While impressionistic, the portrait is also realistic- conveying an actual resemblance to a person. This portrait was significant because it was painted during Van Gogh's period in Arles, France. While productive in Arles, Van Gogh was also relatively isolated, and considered Roulin one of his dearest friends. This is interesting because Roulin is not depicted in a friendly manner, but appears severe and somewhat imposing. This may be because Van Gogh believed Roulin was an impressive and was man, as well as a dear friend. Therefore, his choice of medium may have been made in order to convey wisdom, rather than friendliness.

Girl before a Mirror by Pablo Picasso is an oil on canvas. Like Picasso's other works, Girl before a Mirror is done in the cubist style. Interestingly enough, although Picasso does not render a realistic image of a woman, the painting manages to capture many of the elements of womanhood. In it Picasso uses colors to demonstrate one of the more fascinating aspects of womanhood:…… [Read More]

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Matisse's Joy of Life and

Words: 579 Length: 2 Pages Document Type: Essay Paper #: 70113956



In Demoiselles d'Avignon, Picasso explores with a special forms and depth associated with the cubist movement. This piece represents the break Picasso made with the art of the past. One of the most striking aspects of the painting is the sharp angles. The lines are harsh and this coupled with the lack of depth contribute to a painting that presents itself with Demoiselles d'Avignon. The shading around the figures gives the painting a sense of dimension although it is difficult to discern angles. For example, the background is a combination of fragments and shading. It blends in with the figures of the women to create a complex special effect and continuity throughout the painting. The outlines in this piece are solid and most often create a heavy contrast on the canvas, calling very little, if anything, from nature.

Both artists drew upon new techniques to express their art. Matisse was more drawn to nature and his paintings reveal deeper colors, and richer textures. Picasso was more prone to work from his imagination as opposed to nature and his paintings were often less delineated than Matisse's figures are usually situated in a somewhat natural surrounding. In these two paintings, we see…… [Read More]

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Western Art and Christianity During the Past

Words: 623 Length: 2 Pages Document Type: Essay Paper #: 38414552

Western Art and Christianity

During the past millennium, Western art has been heavily influenced by Christianity. Art is an extension of the many complex thoughts and images that swim within an artist's mind. Because many Western artists have traditionally been raised in a Christian environment, it is difficult for their religious beliefs to be fully separated from their artwork, and oftentimes it is embraced in the works, or a patron has requested it be the specific subject matter. Although this heavy Christian influence would see a swift departure during the Renaissance, it would remain engrained in Western culture until the present day.

The Reformation heralded a swift separation between Christians in Europe, as Roman Catholics and Protestants divided roughly along a North to South split. Protestants seemed to dominate the North while the South remained dominated by Catholic countries. While much of the art in Protestant countries retained a secular subject matter and form, little of the works could escape the influence of the Reformation. Notably, Peter Brueghel the Elder's The Hunters in the Snow, created in 1565, exemplifies many of the emotions and stylistic choices of the era. Although his patron, Niclaes Jonghelinck, was a devout Protestant, the work…… [Read More]

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Gender and Artistic Representation Four Examples From Gardner's Art Through the Ages

Words: 1864 Length: 5 Pages Document Type: Essay Paper #: 65850144

Gardner's Art Through The Ages

Gender in Western Art has been a vexed subject since the later twentieth century, not only in terms of artistic representation of gender, but also in terms of the gender of the artists themselves. With the rise of the feminist movement in America and elsewhere in the latter half of the twentieth century, art historians have been called to task for the relative lack of female creators in the artistic "canon" they propose. I would like to examine questions of gender through four different artworks -- Artemisia Gentileschi's "Judith Slaying Holofernes," Pablo Picasso's portrait of Gertrude Stein, Maya Lin's Vietnam Veteran's Memorial, and Judy Chicago's "The Dinner Party" -- to ask whether any generalizations are possible about the role played by the gender of an artist in the artistic representation itself.

Artemisia Gentileschi's depiction of "Judith Slaying Holofernes" offers an example of a female artist working in the very late Renaissance.[footnoteRef:0] The painting dates from the early seventeenth century, and shows the compositional influence of Caravaggio's treatment of the same subject from the late sixteenth century, which situates Gentileschi in the early Baroque period of painting. The profoundly physical presences of the Biblical figures on…… [Read More]

References:
Elizabeth S. Cohen, "The Trials of Artemisia Gentileschi: A Rape as History." The Sixteenth Century Journal 31.1 (Spring, 2000): 47-75.

Fred Kleiner, Gardner's Art Through The Ages: The Western Perspective, Volume II. 13th Edition. New York: Cengage Learning, 2009. Fig. 9-20.
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Old Guitarist

Words: 1782 Length: 5 Pages Document Type: Essay Paper #: 61942504

Old Guitarist

Pablo Picasso was born on October 25, 1881 in Malaga, Spain. His father was an art teacher and a painter. Although Pablo Picasso was classically trained, he would come to "break painting out of its mold" throughout his prolific career (Aviram and Hartnett 207). Picasso first started painting in Spain, and his ideas and techniques evolved first in Barcelona. After that, Picasso spent a large amount of time in Paris pursuing a career in art. When Picasso was in Paris, he helped revolutionize art by developing cubism, a philosophy and style of painting. Cubism has been called a "towering intellectual and artistic achievement that irrevocably altered the course of European art by shattering the spatial field and reassembling its component parts from different angles," ("Picasso, Pablo" 1781). Before he developed cubism in Paris, though, Picasso developed his style in Barcelona during what is usually referred to as his "Blue Period." The painting "The Old Guitarist" (also called "The Blind Guitarist") is emblematic of Picasso's Blue Period.

Picasso's "Blue Period" only lasted a short while, between 1901-1904, but it was an important time in the artist's life, as well as in the history of European art. During this time,…… [Read More]

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Images of Nursing

Words: 637 Length: 2 Pages Document Type: Essay Paper #: 25469607

Images of Nursing

1897 Pablo Picasso

1856 Jerry Barrett

As we have noted, there are numerous images that are effective in establishing the image and role of nursing to the general public. Two prime examples are a surprisingly poetic "Science and Charity," an 1897 work by 17-year-old Pablo Picasso, and a work from 1856, "Florence Nightingale Receiving the Wounded at Scutari -- or The Mission of Mercy," by Jerry Barrett.

"Science and Charity" is oil on canvass and was one of the very few "realistic" paintings done by Pablo Picasso. This academic painting shows a woman on her deathbed, a doctor on her right and a nun on her left. The doctor looks away from the patient as he takes her pulse and goes about his science. The religious sister holds the woman's soon-to-be-orphaned child, offering a glass toward the woman. Both the nun and the doctor wear the same colors of black and white, and appear as two sides of a scale. But the balance is tipped slightly toward the sister as the light shines on her while the doctor is cast in shadow. At the moment of death his science is useless, but the charitable care of the…… [Read More]

References:
http://www.biography.com/articles/Pablo-Picasso-9440021

Smith, Francis. (1982). Florence Nightingale. St. Martin's Press.
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Comparison and Contrast

Words: 903 Length: 3 Pages Document Type: Essay Paper #: 43631089

1

THE ARTISTIC STYLES OF
PABLO PICASSO AND SALVADOR DALI

The artistic styles of Pablo Picasso, best known for his high abstractions of the Cubist painting style, and Salvador Dali, one of the most important leaders of the Surrealist movement, have influenced a wide range of artists and are today considered as the quintessential examples of twentieth century art. Picasso as an artist was highly imaginative and original and borrowed heavily from many historical examples which aided him in developing new painting styles. Salvador Dali, like many of his Surrealist contemporaries, sought inspiration from a love for fantasy and studied the writings of Sigmund Freud regarding the human subconscious mind which inspired him to "systemize confusion" through his paintings.
The Cubism style of painting as practiced by Pablo Picasso is best represented by his Accordionist (1911, oil on canvas), a construction of large intersecting planes that suggest the forms of a man with his instrument. Host of smaller shapes, each a simplification of some aspects of the original subject, hover in and interpenetrate the larger planes. The total effect is that of a new kind of pictorial reality. The viewer is no longer obligated to contemplate merely a man playing…… [Read More]

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Jewelry Brands and One of

Words: 1185 Length: 4 Pages Document Type: Essay Paper #: 50016754

Among these "Scribble" designs is the drop earrings design. The reason for their success is the overall smooth and elegant look of these earrings. Made with sterling silver, the piece creates a contrasting color tone against darker skin tones. The scribble shape of the design creates a free-flowing feel that makes the piece feel both delicate and prominent at the same time. Although the Scribble appears relatively small, with most signature lines no more than two inches in length, the color and smooth texture of the earrings, magnifies its overall charm. The "Scribble" series reasonably priced, this is because Paloma steers away from expensive jewelry for this signature series, intending to keep it elegant and simple. The line starts from as low as 75 dollars to over 3000, with most of the pieces costing around 200 dollars.

Another signature Paloma line is the "loving heart" series, in which Paloma uses a series of interlinked hearts to create earrings, charms and necklaces. Although she sets this series in many different materials, the focus of her work uses gold. This classic design has been one of Tiffany's top three sellers every year, and its selling point is in the delicate balance of…… [Read More]

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Art and Architecture and Art in a

Words: 613 Length: 2 Pages Document Type: Essay Paper #: 92507961

Art and Architecture

Architecture and Art

In a recent visit to Chicago, I observed the Chicago Picasso which was a gift to the city by the famed artist Pablo Picasso. Located in the downtown Chicago loop, the monument stands 58 feet tall, weighs 162 tons and is constructed of Cor-Ten (corrosive tensile) steel. Pablo Picasso gave this massive work of art to the city of Chicago, even though he'd never been to the city, and never went during his lifetime. The unpaid work was based on a 42-inch-tall version Pablo crafted. It was later executed by U.S. Steel Corporation ("Chicago Sculptures," 2011).

It is reported that Pablo Picasso never named his creation nor gave an explanation as to what it represents. The 3-D piece of art looks different from every angle. People have stated that it resembles a baboon; mainly because of the close-set eyes and flaring nostrils. Also, the copper maquette of the statue created by Picasso in the preliminary stages of designing this sculpture, is titled, "Tete de Baboon," or head of the baboon. Others feel that it is a sculpture of a woman; perhaps a woman named Lydia Corbette, who modeled for Picasso at the time ("Windy…… [Read More]

Resources:
Chicago Sculptures. (2011). Professional Safety, 56(4), 64.

Cunningham, B. (2011, June 5). City in Bloom. New York Times. p. 4.
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Making Things Public Archaeologies of the Spanish Civil War

Words: 1194 Length: 4 Pages Document Type: Essay Paper #: 48039308

Artistic Analysis of "The Weeping Woman": A Plan to Develop a New Work

The meaning of artistic work continues to evolve to mold into new forms and shapes. The current sociological and economic developments are significantly influencing the artistic creations. Women have the power in the society, and, therefore, they have the freedom to do jobs, own businesses, and at a personal level, they now possess the option of sexual orientation. The modern era remained quite merciful towards women who had a role of sexual slaves in the past. The Romans along with the Greeks considered the females as toys that had a function of providing comfort to warriors. Females were responsible for taking care of domestic chores, and they had no right of receiving payments against their services. However, males identified and treated them as trophies, and they collected them according to their level of bravery in the battlefield. Additionally, Romans followed a tighter regime based on merit before awarding a warrior with a beautiful mate. Men had to prove their worthiness in front of the enemies prior to placing his hands on the reward. The social conditions rapidly improved for women in America and Europe during The Great…… [Read More]

Works Cited:
Barnes, M., Davis, A., & Rogers, H. (2006). Women's voices, Women's choices: Experiences and creativity in consulting women users of mental health services. Journal of Mental Health 15 (3), 329-341.

Gonzalez-Ruibal, A. (2007). Making things public: Archaeologies of the Spanish Civil War. Public Archaeology Vol 6 (4), 203-226 .
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Art Appreciation Title of Exhibition

Words: 1128 Length: 4 Pages Document Type: Essay Paper #: 55726626



4. Pablo Picasso (Oct. 25, 1881 - Apr. 8, 1973)

Our first non-French artist, Pablo Picasso was born in Spain to an artist father. From an early age, Picasso demonstrated remarkable talent and zeal. After moving to Paris his art career exploded when he created the "Cubist" movement using shapes and dull colors to represent the subjects. Later he experimented with "Neo-Classicism" and "Surrealism." Picasso was not only a painter of great renown, but he was also a sculpture in his own right with Chicago's Daley Plaza home to one of his sculptures.

No art exhibit could be complete without something from Picasso. Like our other artists, he too developed his own style: "Cubism," and like our other artists, he was not limited to the canvas. Influenced by many different sources, one can see his father's influence, as well as the great masters like Velaquez, Delacroix, and Manet.

Picasso's Bullfighting Scene (1901) should be included in the exhibit as it too is a colorful outdoor scene, but it also expresses Picasso's Spanish origin. One can see the influence of the Impressionists, but also the everyday themes of the classical masters like Reubens.

5. Jackson Pollock (Jan. 28,1912 - Aug. 11,…… [Read More]

Sources:
Courthion, Pierre. Georges Seurat. New York: H.N. Abrams, 1988. Print.

Cowling, Elizabeth. Matisse, Picasso. London: Tate Publishing, 2002. Print.
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French Influence Upon Catalan Modernists

Words: 3751 Length: 11 Pages Document Type: Essay Paper #: 83082708

Symbolism first developed in poetry, where it spawned free verse. Forefathers included the poets Baudelaire, Verlaine, and Rimbaud; practitioners included Laforgue, Moreas, and Regnier. The Swiss artist Arnold Becklin is perhaps the most well-known Symbolist painter; his pictures are like allegories without keys, drenched in melancholy and mystery. Other artists working in this vein include Odilon Redon and Gustave Moreau. The Surrealists drew heavily on the Symbolists later on.

Catalan Artists

Catalan masters played a major role in the development of 20th Century modern art in many fields. For example, modernism expressed by Gaudi, Rusinol, Gimeno, Camarasa, Picasso, Nonell or Miro epitomized the efforts of the Catalan people. Still, most of them expressed their talents outside Spain in Paris where many of them lived and worked before going home to continue their expression. Like anyone honing a craft, they needed a foundation of knowledge for their art and Paris offered this to them.

The artists at the forefront of the new Catalan painting were Ramon Casas (1866-1932) and Santiago Rusiol (1861-1931). The two artists' Paris work, such as Plein air (c. 1890-1), by Casas, and Laboratory in La Galette (c. 1890-1), by Rusiol, is naturalistic in character, dispensing with the…… [Read More]

References:
2000. Catalan Masters. Available at http://www.artcult.com/na125.html" http://www.artcult.com/na125.html. Accessed on 9 January 2005.

2002. Notes on Picasso: Important Terms, People, and Events. Available at http://www.tamu.edu/mocl/picasso/archives/2002/opparch02-281.html. Accessed January 2005.
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Philosophy of Art David Hume

Words: 1467 Length: 4 Pages Document Type: Essay Paper #: 50776142

Art Philosophy

Tragedy in Art

The newspapers are forever mentioning the word, 'tragedy'. It usually means that there has been a death or deaths associated with a catastrophic event. Surprisingly, this is in keeping with the use of tragedy as described by Aristotle: that it should evoke the emotions of pity and fear in the presence of an action of a certain magnitude. Pablo Picasso's 1937 mural, Guernica: Testimony of War, is the epitome of tragedy in art as described by David Hume in his essay, Of Tragedy.

Hume expresses the belief that tragedy may be seen within art through the experience of passion, spirit, uneasiness and a certain pleasure brought about by an understanding of the symbolic aesthetic. He states, "The whole art of the poet is employed in rousing and supporting the compassion and indignation, the anxiety and resentment of his audience. They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries to give vent to their sorrow, and relieve their heart, swollen with the tenderest sympathy and compassion" (Hume Internet source).

The mural is based on an incident that happened in 1934. Hitler had come…… [Read More]

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Tree of Life and Midnight

Words: 5004 Length: 15 Pages Document Type: Essay Paper #: 7916220

As he himself admits, "I have a very grim perspective. I do feel that it's a grim, painful, nightmarish meaningless existence, and the only way to be happy is if you tell yourself some lies. One must have some delusions to live" ("Cannes 2010: Woody Allen on Death -- 'I'm Strongly Against It'"). What Midnight in Paris is for him (and us), therefore, is a kind of distraction from the reality that at some point the final credits will roll.

Malick's Tree of Life, then, is a kind of answer to Allen's melancholy. It is, of course, a religious answer told through an impressionistic and indirect medium. Nonetheless, unlike Allen, Malick is willing to embrace the spiritual side of man and explore its meanings and possibilities. For Malick, life is a spiritual journey that can lead one either upwards to the good or downwards to the bad. Allen's film may also seem like such -- but the scope is not as great and the reach is not as magnificent. Allen's film comes up short of the cinematic gold if only because Allen himself has no use for the incorruptible crown. Malick, on the other hand, obviously does -- and it…… [Read More]

Bibliography:
Allen, Woody, dir. Midnight in Paris. Los Angeles: Sony Pictures Classics, 2011.

Film.
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Museum Exhibition in New York

Words: 544 Length: 2 Pages Document Type: Essay Paper #: 88795192

This exhibition shows the artists as young men struggling to make it on their own, showing the influences of their key friends including the Stein family.

In addition to Picasso who would go on to become world known and the most famous of all artists living in the area of Paris Gertrude Stein was living at the time, Paul Cezanne, Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec were also regular visitor to the Stein's apartment. The influence of Gertrude Stein as a benefactor of their works is evident in how they portray the Stein family in general and Gertrude specifically. Two of the most celebrated French painters of the 19th century, Edouard Manet, and Auguste Renoir, are also included in the exhibition. Seeing paintings from these two French impressionistic masters is worth the trip to New York alone. Their work is exceptional and technique so unique no one has been able to imitate it.

The exhibition shows how an arts benefactor, Gertrude Stein, has been able to create a lively, active artistic community in Paris in the early 20th century. Her involved and support for these artists made it possible for them to turn their great ideas for art into…… [Read More]

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Sharon Helgason Gallagher and the Art Book in the Internet Age

Words: 2719 Length: 8 Pages Document Type: Essay Paper #: 50808955

headline from May 2015. "Picasso's Women of Algiers Smashes Auction Record," is how the BBC phrased it, on May 12, noting that "Picasso's Women of Algiers has become the most expensive painting to sell at auction, going for $160 million" (Gompertz 2015). In the frequently dicey and volatile early twenty-first century economy, it is clear that high art has managed to maintain its value in a way that the mortgage of a Florida homebuyer or the Beanie Baby collection of a midwestern housewife have not. It is now almost eighty years since Walter Benjamin issued his famous meditation on what precisely the value of the visual arts could be under late capitalism, "The Work of Art in an Age of Mechanical Reproduction." The subject of what art means in an age where reproductions of art are ubiquitous has been around for a while. But Benjamin had never seen the Internet. When considering a publishing house like D.A.P. / Artbook under the leadership of Sharon Helgason Gallagher, it is necessary to consider the present state of the arts. The record-breaking Christie's auction this month, setting a new high in the monetary value of an original painting, is a good indicator. Something…… [Read More]

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Non-Western Influences on European Art

Words: 1360 Length: 5 Pages Document Type: Essay Paper #: 56389951

Art

Asia and Africa in Western European Art

Globalization is generally associated as a modern phenomenon, however, it is a global movement that began with the Greeks and did not accelerate until the renaissance era. The West, going back to Alexander the Great, has a long history of interactions with Asia and Africa. Ideas and goods were consistently traded. This trend of globalization accelerated with the age of exploration in the 16th century when Europeans came into further contact with Africa, Asia, and the Americas. Driven by the quest for gold and natural resources Western European traders navigated the world. This had a profound effect back home, as Europeans developed an interest in the exotic. The interest blossomed during the 18th and 19th century, during the height of Western power and colonialism. Curiosity into the foreign permeated all levels of society. Artists incorporated Asian and African artistic styles into their own. This paper will examine the extent of Asian and African influence on Western art by looking at specific examples discussed by Ori Soltes.

European fascination with foreign art began in the world of Louis the XIV, XV, and XVI. Examining the work, Chinese Fishing Scene (1742), by Francois Boucher,…… [Read More]

Bibliography:
Soltes, Ori. "They All Came to Paris." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. < https://www.youtube.com/watch?v=F5sJergolDc >.

Soltes, Ori. "Asia and Africa in the Western Mind." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. .
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How Art and Psychology Are Related

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Neuroscience

Art is processed in the brain, and neuropsychological principles show how. One of the prime examples showing the way art influences the brain is with the Mona Lisa. Da Vinci's painting is notable for the peculiar and ambiguous smile on the subject's face. There is "dynamism" in the smile, artist understood this and deliberately make optical illusion of sorts (Chakravarty 69). The illusion is a product of "imaginative thinking which involves frontal cortical activation in the viewer's brain coupled with activation of the motion area (area V5/MT) of the viewer's visual cortex," (Chakravarty 69). Thus, some viewers may perceive La Gioconda as smiling, and others may not.

Evolutionary Psychology

Cave art proves that creative expression has always been a part of human history. As Dutton points out, the ancient Greeks were the first to recognize that art had a distinct psychological component. Art has functioned differently in different cultures and throughout time. An evolutionary psychology perspective discusses art both in terms of how the form and function of art itself has changed, and also in terms of how individual human beings relate to art throughout the course of their own lives. Art has functioned as emotional expression as well…… [Read More]

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Prado Museum Is Renowned Throughout

Words: 2565 Length: 7 Pages Document Type: Essay Paper #: 65335023



In brief, this painting is essentially a representation of the court of Philip IV and the focal point of the work is the Infanta Margarita who is surrounded by various figures, including her maids of honor, dwarfs and a dog. Las Meninas depicts a large room in the palace of King Philip IV of Spain and most of the figures can be identified as members of the Spanish Court. The figure of the painter is also prominent .There is also a mirror at the back of the figures that depicts the King and Queen.

This complex and mysterious work of art has been the subject of much debate, especially with regard to the theme of illusion and reality in art. It has therefore become one of most widely discussed and analyzed paintings in the Western art discourse. The following commentary provides some ideas of the contemporary interest in this painting.

Velazquez's Las Meninas has long captivated viewers by its effect of naturalism. Nineteenth century critics saw it as anticipating the invention of the camera with its effect of capturing a "snapshot" of a moment in time and space. Contemporary critics have emphasized the calculated control Velazquez employed to construct this…… [Read More]

Sources:
GOYA, Francisco. Retrieved November 10, 2009, from http://www.artchive.com/artchive/G/goya/may_3rd.jpg.html

Greco, El. Retrieved November 9, 2009, from http://www.ibiblio.org/wm/paint/auth/greco/
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Art of Collage Refers to

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The basis of collage with is associated with humor and entertainment forms its captivating content, an element for passing its information. Materials that are used for collage are normally readily available old objects that have been disregarded. Use of new materials in the art is not restricted but again not considered to add value to the collage work. It is thus a considerably less expensive process as compared to other artistic communications avenues such as painting that requires newly acquired materials that consequently calls for extensive financial commitment. Its relative affordability together with its captivating elements makes collage a good avenue for communication especially in social campaigns. This becomes specifically effective if the entire society is integrated in the collage representation (Learning, 10).

Other collage artists

There are a number of collage artists that have also been significantly felt because of their contribution in collage. Apart from Michael Anderson, Oliver outlines a large number of artists which includes "Gosha Oestrestov, Lori Field and Andrew Erdos "among others (Oliver Claire, 1). There are also a variety of legendary collage artists that have been known throughout history. Pablo Picasso who is recognized as one of the earliest collage artists is still recognized…… [Read More]

Works Cited:
McLendon Matthew. Beyond Bling. (attachment)

Michael. (n.d.). Michael Anderson. Retrieved from: http://www.michaelandersonsculpture.net/Bio.html

Oliver Clair. (n.d.). Michael Anderson. Retrieved from: http://www.claireoliver.com/artists.html?artist_no=56&offset=-1
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Artists Be Given Free Rein in the

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artists be given free rein in the producing and displaying of works that are offensive, objectionable, or disparaging of certain people's beliefs and values? What responsibilities do artists have to their society? What responsibilities does the society have to its artists?

The job of artists is to hold up a mirror to society and comment on both the beauty and ugliness that exists in the real world. It is easy to showcase things that are beautiful. The museums of the world are full of pretty pictures which depict landscapes and lovely people in fancy dresses. However, there are also works of art in museums or galleries which are controversial, unsettling, and perhaps even downright ugly. Some works of art show things that most people do not want to see, such as material which is offensive, or objectionable, or even disparaging of the beliefs and values of others. Such works are not meant to be appealing to the person looking at it. Rather, they are supposed to make the viewer think about what they see and to make them feel uncomfortable. This makes them reflect on what it is they are really uncomfortable with beyond what is presented in the artwork.…… [Read More]

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Art the Metropolitan Museum of Art Currently

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Art

The Metropolitan Museum of Art currently presents three fascinating special exhibits including one on cubism, another on Renaissance tapestry, and a third on ancient Assyrian art. Each of these three special exhibits is different, and exciting in its own way. The exhibit on Renaissance tapestry is entitled "Grand Design" and focuses on the work of Pieter Coecke van Aelst. Some of the tapestries are lavish and intricate, such as the "Seven Deadly Sins." Having never before encountered tapestries from this era, I was stunned at the workmanship and marveled at the amount of time it must have taken to weave these incredible patterns. As if on cue, the museum's curator had prepared several information panels informing viewers about the process of tapestry making, its history, and its relevance during the Renaissance. Van Aelst had produced tapestries for Europe's elite, including the Medici family. This made me ponder the nature of globalization, and how Europe was uniting itself with commercial activities many centuries prior to the advent of the euro. In fact, subsequent tapestries in the collection, such as "Customs and Fashions of the Turks," shows that the world was becoming smaller and smaller as the age of exploration commenced.…… [Read More]

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Art One Point Linear Perspective in the Renaissance

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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…… [Read More]

Sources:
Edgerton, S. ( 2006). Picturing the Mind's Eye. Tampa University. Journal of Art History,

1. Retrieved from http://journal.utarts.com/articles.php?id=4&type=paper
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Henry Moore One of Artist

Words: 991 Length: 3 Pages Document Type: Essay Paper #: 56129933

Herbert Reed saw these bronze sculptures as "apparitions," or "primordial images projected from the deepest level of the unconscious, and they illustrate the truth that the artist is essentially the instrument of unconscious forces" (Mitchinson 1998, p. 246). Others see the uprights as Moore's reflection of World War I, or bombs cut in half lengthways to show their internal workings, giving a long, smooth and rounded shape at the back and a complex series of mechanical forms at the front. In this case, he is anthropomorphizing the bombs by adding facial parts. Regardless, these sculptures are highly abstract and ambivalent, impacting people in different ways (Mitchinson 1998)

It is most likely more the case that Moore's uprights are not dark and pessimistic recreations of bombs. When he first saw the prehistoric stone monoliths at Stonehenge in the 1930s, he was elated and began to try different types of sculptures: "I started by balancing different forms one above the other -- with results rather like the Northwest totem poles (Mitchinison 1998).

By ambiguously mingling the human form and nature, Moore said he was able to show that man is part of the natural world and not just someone who observes. In…… [Read More]

References:
Bazin, Germain. 1968. History of World Sculpture. Greenwich, CT: New York Graphic Society.

Nelson Atkins Museum of Art/Kansas City Blog. Retrieved April 3, 2009. http://www.nelson-atkins.org/blog/kansas_city_sculpture_park/