Art Comparison
Pablo Picasso's "Guitar, Sheet Music and ine Glass" is a paper collage with ink. The 1912 work is from his Cubist period, but is far less formal than many of his Cubist paintings. Rather, than pure geometric patterns there is some definition of shape, but also incorporations of curves and circles. This informality is echoed in the background of the artwork which is a pattern of diamond-shaped tiles with flowers in the center. The effect is of some wallpaper in someone's living room as opposed to cutting-edge, modern art. The guitar is only represented in the painting by figures but is the emphasis of the piece. There are two curved segments with a heavy-grain wood pattern which indicate the left side of the guitar. In addition there is a blue rectangular shape at the top of this segment which functions as the fret bar of the instrument. A central…...
The Romanticism of Goya's work is shown in the way that it is openly partisan and emotional -- it lacks the clean lines of David's painting and thus make the figures seem more worthy of pathos, more real as subjects to the viewer, even though the rendering of the subject may be less realistic on the surface. Goya's intent was to make a clear, partisan point that would move the viewer to judge war harshly, as well as see the French soldiers as butchers. Its Romanticism is also evident in the way that it is intended to move the heart about the individuality of often unrecognized citizens, rather than to inspire the viewer to noble ideals of self-sacrifice of any soldier. "ith Goya we do not think of the studio or even of the artist at work," as we do when seeing in David's work, for while David openly recalls…...
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Works Cited
Clark, Kenneth. "The Shootings of May Third 1808." From Looking at Pictures.
Art Compare
The Narrative Tradition in Art: Evidence and Examples from the Neolithic and the Hellenistic Periods
Artists have existed since long before the dawn of civilization and the beginnings of recorded history, and the subject matter chosen for depiction in paintings has at once been highly varied and remarkably similar as civilization progressed and societies same and went. Wildly disparate styles have led some to emphasize color and the abstract while others attempted to paint exactly what was seen, and buildings dominate some paintings while landscapes dominate others; at the same time, there have been similarities in that paintings always represent the world as seen by the civilization producing the art, and thus people and certain other elements are almost always well represented. Art is a way of mirroring life, and of displaying features of importance to a given people, and representations of men and women and the objects and creatures…...
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References
Cartldge, P. & Millett, P. (1998). Kosmos: Essays in Order, Conflict and Community in Classical Athens. New York: Cambridge University Press.
Hamblin, W. (2006). Warfare in the ancient near east. New York: Routledge.
Kleiner, F. (2010). Gardner's art through the ages. Mason, OH: Cengage.
Snodgrass, A. (2000). The dark ages of Greece. New York: Routledge.
The perspective might seem extreme. In this sense, it is important to understand that Van Gogh was trying to break free from the limitations of the perspective frame which imposed realistic perspectives and proportions. Moreover, towards the end of his life, at the peak of his artistic maturity, he rebelled against the muted colors that Dutch painters were using at the time.
tylistically, the task of understanding Van Gogh's paintings cannot be undertaken without a proper look at what Post-Impressionism meant. Post-Impressionism took Impressionism to another level. However, Post-Impressionists continued to use vivid colors and real-life subject matter, as well as thick layering of paint. In addition, nonetheless, Post-Impressionists rejected the confines of Impressionism which upheld natural colors and traditional forms. From this point-of-view, Van Gogh along with other Post-Impressionists such as Cezanne, Gaugain and Bonnard, blurred the limitations of conventional form, and distorted it in order to increase the…...
Art
Comparing Actual Sculpture to Theory about Sculpture
Krauss begins her piece "Sculpture in the Expanded Field" by questioning what is sculpture and what is sculpture now? She recounts the ideas of other theorists and historians who claim that because anything can pass for sculpture, sculpture as a distinct artform, no longer exists. Krauss adamantly argues the opposite. She claims that the world and the artistic community is very much aware of what sculpture is explaining that sculpture has its own logic. (Krauss, 1979) She also describes sculpture as it relates to monument, as they are both commemorative representations (Krauss, 1979)
As the concept of sculpture expands, Krauss contends that most sculpture diverges between the logic and permanence of a monument and a homelessness, loss of place, or how she characterizes sculpture's entrance into modernism. (Krauss, 1979) She further describes another kind of sculpture -- sculpture that is both landscape and architecture such…...
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References:
Krauss, R. (1979) Sculpture in the Expanded Field. October, 8, 30 -- 44.
There is also little doubt that viewing the original works is a very different experience to viewing a reproduction. There is as sense of presence and intimacy in viewing the original works that is not evident when viewing a reproduction. There is something tangible and direct that comes across when looking at the original that is lost in viewing reproductions. With the original paining one is allowed to view the actual brush strikes and paint build-up in a way that cannot be achieved with a reproduction.
ibliography
"Early Renaissance, 1400-1500." Accessed September 10,
Ancient Art / Comparing Two Works
Two ancient works of art were viewed for discussion in this paper. The first is called "Vessel Terminating in the Forepart of a Stag" at the Metropolitan Museum of Art. The second is an Etruscan engraved mirror, which can be viewed at the Louvre. Although the objects are from different time periods and cultures and depict different images, they have in common the fact that they are both utilitarian objects made beautiful with adornment.
The stag vessel [http://www.metmuseum.org / Collections/search-the-collections/30006086] was discovered in Central Anatolia (a region of Turkey) and is attributed to the Hittite Empire, circa the 14th -- 13th centuries BCE. It is a drinking vessel made of silver with gold inlay. It is a representational piece that stands eighteen centimeters tall. According to the Museum's website, the stag's front legs and torso, which opens into a cup, was hammered from a single piece…...
As a result, both works of art share this similarity, as they want to instill the audience with a sense of awe and respect for this person. (Stokstad, 2011)
When you step back and analyze both statues, it is clear that Donatello as well as Michael Angelo is trying to impress upon the audience a sense of: strength and respect for their statues. This is illustrated by the way they are using his physique, to underscore his physical strength and sexual prowess. However, both artists have different interpretations about what this character should look like. As far as Donatello is concerned, he is highlighting these momentous changes that are occurring (through a graphic depiction of the aftermath of the battle). Where, he shows David posed victoriously, with his foot on top of Goliath' severed head. This is important, because Donatello is trying to instill in the audience a sense of…...
Art Compare
The author of this report has been asked to answer two distinct questions as it pertains to some pieces that are in the Art Institute of Chicago. There are a total of three questions from which the author will select two. The selected question from the optional pair will be about the Aesthetic Movement pieces offered by Herter and Godwin. The other question will center on a compare and contrast between two pieces that are in certain galleries from both the American and European Decorative Art sections. The two works selected for the second question are to fall under the "related but different" paradigm such as two vases, two chairs or something else common. While the pieces of art in the European and American art galleries are quite different, they tend to be related in many ways as well including the motive behind the designs and how they looked…...
Three examples come to mind: the aboriginal art of the indigenous peoples of Australia, the native art of Central and West Africa, and some of the cave paintings from Lascaux. Like Anderson, each produced colorful, realistic, yet unique depictions of nature and animals. Shown here from left to right are Australian Aboriginal Art, Folk Art from Tanzania, and a poster of one of the Cave Paintings from 10-15,000 BC in Lascaux, France. Note the similarity in texture and line to Anderson, the fact that the animals almost curve, and that we have an anatomical element within each of the three interpretations.
Anderson, however, is far more enveloping than many other primitivists. One can almost sense the hours he spent observing these creatures. And, the sense of movement that is communicated in the flatness by the oscillation of the circles from crab to crab, as if they were imitating sonar back…...
Art
Both Duccio di Buoninsegna and Fra Filippo Lippi paint the Christian Madonna and child scene. Lippi's "Madonna and Child Enthroned with Two Angels" is rendered on wood with tempera and gold leaf. It is rounded at the top, and was the center part of a triptych that was completed in about the year 1440.[footnoteRef:1] Also in tempera and gold leaf on wood is di Buoninsegna's "Madonna and Child." Candle damage at the bottom of the wood panel suggests that the painting was "used for private devotion."[footnoteRef:2] Buoninsegna's painting was completed in the year 1300, almost one hundred and fifty years prior to Lippi's "Madonna and Child Enthroned with Two Angels." The two depictions of mother Mary and baby Jesus share similar themes, and in both the mother is holding the child. However, the composition of the two paintings is strikingly different and symbolizes their respective religious histories. [1: "Fra Filippo…...
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Works Cited
"Duccio di Buoninsegna: Madonna and Child (2004.442)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- . (September 2010)http://www.metmuseum.org /toah/works-of-art/2004.442
"Fra Filippo Lippi: Madonna and Child Enthroned with Two Angels (49.7.9)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- .
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 omance." 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…...
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…...
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Works Cited
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.
Lanchner, Carolyn, Leger, Fernand, Hauptman, Jody, Afron, Matthew, and Erikson, Kristen. Fernand Leger. New York: The Museum of Modern Art. 1998.
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…...
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Works Cited
"REVIEW & OUTLOOK (Editorial, b) -- Asides: Tilting with the Arc." Wall Street Journal: 1. Sep 04, 1987. ABI/INFORM Complete. Web. 21 Feb. 2013.
Doss, Erika. "Public Art Controversy: Cultural Expression and Civic Debate," Americans for the Arts, October 2006. Web. 20 Feb. 2013.
Drescher, Timothy. "The Harsh Reality: Billboard Subversion and Graffiti," Wall Power, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.
Fleming, Ronald Lee. "Public Art for the Public." Public Interest.159 (2005): 55-76. ABI/INFORM Complete. Web. 21 Feb. 2013.
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