Painting Essays (Examples)

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Orpheus Charming the Animals vs

Words: 1367 Length: 4 Pages Document Type: Essay Paper #: 23854561

Figures dressed in bright colors that are small and have impish expression upon their faces dance around him and engage in sin. However, most of the devils are portrayed as dark figures in the form of winged creatures. This creates a distinct contrast between the saint, the holy light of his practice, and the darkness of evil.

Both paintings feature a contrast of color as well as theme. The supernatural glow of the central saint contrasts with the darkness of temptation, just like the pure light of the music of Orpheus contrasts with the darkness of the wilderness. Both paintings, as well as depicting a subject, thus also convey an ideological point-of-view of the subject. In Orpheus Charming the Animals, even the wild beasts are stilled by the ability of Orpheus to play, reflecting the power of the human art of music. In Teniers' painting, the holy focus of the…… [Read More]

References

Kummer, Julie. "The Temptation of Saint Anthony." [18 Nov 2011]

 http://www.willemswebs.com/ringlingdocents/stanthony.htm 

Seiferth, Michael. "Renaissance." English 222. [18 Nov 2011]

http://lonestar.texas.net/~mseifert/renaissance.html
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Gustave Courbet

Words: 681 Length: 2 Pages Document Type: Essay Paper #: 23820268

painting "The Artist's Studio" by the famous 19th century French painter Gustave Courbet. The artist's legacy and influence in the world of painting has also been explored.

Gustave Courbet:

The Artist's Studio

The Artist's Studio is a huge, monumental painting (11? 10? x 19? 9?) completed by Gustave Courbet in six weeks in 1854-55.

The artist sub-titled the painting as "A True Allegory Concerning Seven Years of My Artistic Life." The painting contains over twenty life-size figures in the artist's studio with Courbet himself occupying center-stage. He is shown painting a landscape attended by a dog, a small boy and a nude female figure looking over the artist's shoulder at the painting. "The world comes to be painted at my studio,"

the artist had remarked at the time. This is perhaps depicted in the seemingly lively, spirited group of people on the right side of the painting. The group supposedly…… [Read More]

Bibliography

Cullen, Allison. (2000). From The Trivial to The True: The French Revolution and Painting

Retrieved on February 27, 2002 from http://www.kirschnet.com/bome/cities/paris/hband/painting_essay.html

"Gustave Courbet": French Painter, Draftsman. (2000). From the Getty Museum Web Site. Retrieved on February 27, 2002 from http://www.getty.edu/art/collections/bio/a369-1.html

"Gustave Courbet." The Artist's Studio.(1998). Eds. Musee d'Orsay and Decan. Retrieved on February 27, 2002 from http://www.musee-orsay.fr:8081/ORSAY/orsaygb/COLLEC.NSF/e285dbff73cc5aed802563cd00524868/34be5cc76cfc8577802563ce00365ccd?OpenDocument
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Naret Applying Feldman's Method of

Words: 837 Length: 2 Pages Document Type: Essay Paper #: 73435447

hile not an example of Pop Art, the intense use of color and the pastiche of subject matter (although a pastiche of 'high art' rather than popular culture like arhol) demonstrates the contemporary nature of the work.

Like the earliest estern artists discussed in Gardner's Art Through the Ages, Naret pays visual homage to the subject of the art 'masters' that have come before him and adopts their subject matter (flowers, simple furniture) to his own style. His biography states he is inspired by the landscapes of his own region of Mexico. This stress upon personal interest in the landscape is Impressionistic, and highlights the difference in purpose between early estern and past estern art. Before the 19th century, art was functional in decoration and worship, and it transmitted the messages of political or ecclesiastical authority. The purpose of art was not to communicate the art's own soul or personal…… [Read More]

Works Cited

Art Criticism: Final Exam." Princeton Online: 25 Jun

http://princetonol.com/groups/iad/Files/final.htm

Kleiner, Fred S. & Christian J. Mamiya. Gardner's Art Through the Ages: Volume 1. 12th

Ed. Wadsworth Publishing, 2004.
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Work by Albrecht Drer

Words: 1552 Length: 4 Pages Document Type: Essay Paper #: 71950600

painting "St. Jerome in his Study by Albrecht Durer. Specifically, it will discuss the historical context and aesthetic effect of the painting, while deciding what makes the painting cool. The work is a detailed engraving on paper created meticulously in black and white, created in 1514, and measuring 24.8 x 18.8 cm. It is located in the Ball State Museum of Art in Indiana, and the Clark Art Institute of Massachusetts. This engraving is magnificent in its detail and its subject matter. At the center of the work is an old man, St. Jerome, bent low over his work on a low table bathed in light from the windows that line the room on the old man's right. His study is roomy enough to include window seats under the oversized windows, items hanging from the ceiling and on the wall behind St. Jerome, and a pair of animals curled up…… [Read More]

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Jewish Holidays

Words: 1376 Length: 4 Pages Document Type: Essay Paper #: 60389057

Paintings

The Shabbat painting

Illustrated in a naive style devoid of perspective, with vibrant simplistic colors, Meyers seems to wish to convey the scene precisely as he viewed it when a child. The commentator notes that there is a symmetry to the room, and she may be right in that the shabbat table is centerpiece as though the whole atmosphere orbits around and reflects from the shabbat which indeed it does, Shabbos defining and transforming the entire day.

What is interesting is that the children are sitting around the table as though ready to eat while the mother seems to be blessing the candle. Most pictures of the era, and, indeed, customary in many contemporary homes is that the children stand by the side whilst the mother lights, and that this is done quite a while before actually eating the meal. This, at least, was the custom too in Apt…… [Read More]

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In Terms of Dramatic Presentation

Words: 358 Length: 1 Pages Document Type: Essay Paper #: 99837664

In
essence, the horse in this painting appears to be the centerpiece for our
eyes rather than Saul and his conversion. In addition, Caravaggio has "paid
no attention to the usual dignity appointed to scenes from the holy
scriptures" (Linda Murray, 156).
In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo
demonstrates his tremendous sense of emotion which is presented through his
use of light and shadow. The image of Saul, unlike that in Caravaggio's
rendering, serves as the focus point and clearly defines Michelangelo's
great respect and admiration for classical motifs and the true
representation of biblical events.
Thus, the superiority of Michelangelo's CONVERSION OF SAUL is due to
his mastery of Renaissance form and style and his adherence to the use of
light and shadow which seems to be a natural prerequisite to presenting
biblical images and events as they were meant to be viewed.
ILIOGRAPHY…… [Read More]

BIBLIOGRAPHY
de la Croix, Horst and Richard Tansey, Revs. Gardner's Art Through the
Ages. New York:
Harcourt-Brace-Jovanovich, 1975.
Murray, Linda. The High Renaissance. New York: Random House, 1967.
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Examining Fragonard's the Love Letter

Words: 1624 Length: 5 Pages Document Type: Essay Paper #: 6633671

Metropolitan Museum of Art: The Love Letter

This paper examines the piece The Love Letter, created in 1770 by Jean -- Honore Fragonard. The painting consists of oil on canvas and is 32 3/4 x 26 3/8 in. (83.2 x 67 cm) and originates in France. The painting was originally part of a series of decorative panels which were commissioned by Madame du Barry, one of the loves of Louis XV, for her house which was located at Louveciennes. However, once the panels were finished, she rejected them as being unsuitable for her tastes. This painting was executed before the entire series as a pitch to acquire her commission. The Love Letter in many ways is characteristic of Fragonard's style as a whole: it has warm and muted coloring with a strong eroticism which is present, though somewhat hidden. Fragonard is one who made an entire career from portraying the…… [Read More]

References

Artble.com. (2013). Jean-Honore Fragonard. Retrieved from Artble.com:  http://www.artble.com/artists/jean-honore_fragonard#style_and_technique 

Du.ac.in. (2013). Rococo. Retrieved from Du.ac.in: http://www.du.ac.in/fileadmin/DU/Academics/course_material/euroart/hyperlinks%202/Rococo%20features.htm
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Green Tara Tibetan Art -

Words: 2111 Length: 8 Pages Document Type: Essay Paper #: 71028000

The most striking difference of this painting is the extensive use of gold leaf. A matured use of shadow and detail can be seen in this tangka, indicating a later, more developed art form. It lacks the detail to symmetry found in the other two examples as well. This piece provides an excellent contrast to the earlier two Tangka that were examined. it's attention to shading, clear outlines, and accents in gold may indicate the Menris school of the 1500s (Tibetanartschool.com).

Conclusion

Tangka paintings are an important part of Tibetian life. Many regional differences exist in the painting styles and techniques that are employed in the paintings. It might be noted that Tangkas in western Tibet take on a Chinese flavor. Tangkas of the religious nature are divided into three major portions. They are the top, middle and lower portions of the painting, representing the heaven, earth and underworld (U-wayttours.com).…… [Read More]

References

Asianart.com. Desire and Devotion: Art From India, Nepal, and Tibet in the John and Berthe

Ford Collection. <  http://www.asianart.com/exhibitions/desire/tara.html  > Accessed

November 23, 2010.

Rumsey, D. Green Tara.
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Berger's Ways of Seeing Stood

Words: 1954 Length: 6 Pages Document Type: Essay Paper #: 33160782

The painting begged me to ask of it why intermittent shadows struck its sides, why yellow-golden light graced its innards. I guessed that it must have been nighttime that Stella tried to capture, for at night the shining lights from the city would flicker against the bridge and bring out the character of the steel in ways sunlight could not. Sunlight was too harsh and strong; it would overpower the subtleties of steel. Steel appreciated the gentle caress of moonlight and streetlamp and the headlights of cars.

The more I questioned Stella's use of light in "Old Brooklyn Bridge," the greater the painting shone. I was starting to see colors where I had not previously seen. Rich and joyful blues complemented the blood red; yellows and greens accented the thick black background. Orbs of soft white light emanating from the underbelly of the bridge illuminated its sides proudly. Contrast between…… [Read More]

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Food From Ancient to Modern

Words: 1386 Length: 5 Pages Document Type: Essay Paper #: 25663218

Therefore, it is true that the aspect of trade of wine and quality, as well as publication of the paintings, used the grapes and wine themes for the marketing brand associated and the underlying culture within the painter's lives.

Why the artists from Classical Antiquity to Modernism have been using particularly this theme?

From the Classical Antiquity to the modernism era, people developed an attitude that keeps certain groups of painters making a name through the themes they apply in their paintings. Therefore, the grapes and wine theme is already in deep roots within the basis of sales possible. Every painting that applies the use of the grapes and wines theme receives significant support and acceptance within the society; hence, the reason it has such wide application by the classical antique and modernism-painting activists.

Why the modern artists have been continuing to use themes particularly from Classical antiquity and from…… [Read More]

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Art Please Take a Close Look at

Words: 1116 Length: 3 Pages Document Type: Essay Paper #: 24976249

Art

Please take a close look at two paintings of storms: Watteau's the Storm

painting comparison

Watteau's the Storm and Delacroix's the Sea of Galilee

The two paintings in question refer to different time periods in art history and more importantly, to different views about art and life. These views are also reflected in the style and the technique of the two paintings. Art is often a reflection of the times in which it is created. The social values and perceptions as well as the dominant religious and philosophical ideas of the time tend to be represented in art during a certain period. The following two paintings will be compared and contrasted in terms of their unique qualities, as well as in terms of the way they reflect the era and the dominant ethos of the time period in which they were created.

Comparison of Two Paintings

The development in…… [Read More]

References

Introduction to the Romantic Era in English Poetry. Retrieved from  http://records.viu.ca/~johnstoi/introser/romantic.htm 

Neoclassicism. Retrieved from    http://www.metmuseum.org   /toah/hd/neoc_1/hd_neoc_1.htm

Romanticism in Art. Retrieved from http://www.visual-arts-cork.com/history-of-

art/romanticism.htm
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Realism Style

Words: 3561 Length: 12 Pages Document Type: Essay Paper #: 77864485

Realist Painting Style and Realism

The Realist style owes its existence to the Realist concept. "Realism is democracy in art," Courbet believed. (Nochlin, xiii) Taking that as the credo upon which the works of the artists were constructed, the style itself can be nothing if not anti-academic, anti-historical, anti-conservative. Indeed, whether brushstrokes or pen markings or etching into stone or metal form the image, the underlying attitude is one of freedom, attention to the gross characteristics of form, dismissal of mere decoration for its own sake, and obvious celebration of anything. The self-consciousness of the finely chosen brushstroke or marking is gone, in favor of a brushstroke or marking that favors expression of the interplay between what is seen and the seer. Gone is any demand from outside the artist to make things appear lovelier, grander, more stately than they perhaps really are. It is, in short, art with the…… [Read More]

Works Cited

Crook, Malcolm "French elections, 1789-1848." History Today, 1 March 1993.

Daumier, Honore. The Columbia Encyclopedia, 10 January 2004.

Dolan, Therese. Honore Daumier. (Review) The Art Bulletin. 1 March 1998.

Dorozynski, Alexander. "Audacity: 200 years of French innovation 1789-1989. (AMERICAN HERITAGE Magazine Special Report), Forbes, 24 July 1989.
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Tshibumba in Our Class We

Words: 701 Length: 2 Pages Document Type: Essay Paper #: 58515137

Blommaert's analysis however is not pictorial. It is linguistic due to his analysis of handwriting in History of Zaire

Tshibumba shows how the forms of genre can work to offer space for Tshibumba to define himself as a historian by being a produce of ordered and organized knowledge. His writing style was generically regimented, reflecting Tshibumba's pictorial style of historical representation. It is not so much fact as voice (interpretation). This goes as well for Tshibumba's paintings (Blommaert, 2004, 6).

Given the criteria laid down by Blommaert and Moten, we can now further analyze painting number 34 where Tshibumba is giving voice to the suffering man. hether or not a single living person that can be given a name is represented here, it is an archetype of a whole people's sufferings over the whole modern history of the Congo. Rather, what is historically true is the suffering of the Congolese…… [Read More]

Works Cited

Blommaert, J. (2004). Grassroots historiography and the problem of voice: Tshibumba's histoire du zaire. Journal of Linguistic Anthropology, 14(1), 6-23.

Moten, F. (2003). Not in between: lyric painting, visual history, the postcolonial future. The Drama Review, 47(1), 127-148.
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Renaissance Baroque Comparative Analysis

Words: 1748 Length: 4 Pages Document Type: Essay Paper #: 23529400



The compositional structure here is actually quite daring. Even though a viewer tends to "read" a painting left-to-right, as with a book, here the left side of the canvas seems to fade away into nothingness. It is not just the empty seascape on the left as compared with the dark richness of the forest on the right. The left half of the painting contains the subject of the painting after all -- Europa and the Bull. It is Rembrandt's genius to have the drama of Europa and the Bull taking place in the lower left corner of a very large painting, almost as though the moment of drama is on its way out, and the viewer is lucky to have caught it. But it is also clever how Rembrandt essentially balances the canvas with two central subjects, equally illuminated from above -- we have Europa and the Bull on the…… [Read More]

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Art and Literature

Words: 1206 Length: 4 Pages Document Type: Essay Paper #: 67851420

Henri Matisse's painting Woman efore an Aquarium, and the poem of the same title by Patricia Hampl. The also paper look at the reasons why a poet may choose to base their work on an existing work of art.

Poets sometimes choose to write about works of art for many reasons, because they become inspired by them, or repulsed by them, or maybe because they are enraged by the work of art. Further, the work of poets can also inspire artists, for much the same reasons. Many would argue that both poets and painters are artists, and that, as such, the issue of why and how poets become inspired by paintings is irrelevant; it is argued that a painting can be as much of an inspiration for a poet as a scene from nature, or a memory, or a smell, as anything that stimulates the muse to write can be…… [Read More]

Bibliography

     http://www.artchive.com/artchive/M/matisse.html     

Neret, G. (1999). Matisse. Taschen.

Brettell, R.R. (1999). Modern Art: 1851-1929. Oxford University Press.
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Schwitters & Rauschenberg Schwitters's Merzpicture

Words: 1696 Length: 5 Pages Document Type: Essay Paper #: 68475438

hile that process may be somewhat apparent in Kurt Schwitters's Merz pictures from this era, the artist was not so radical as to defy all means of self-expression - he clearly could not help himself from interfering by shaping his materials into a form that may not have seemed coherent at the time, but from a historical perspective, certainly seems to make sense. Both works seem to evoke a melancholy mood in the viewer once one realizes that such rigorous means of experimentation are largely absent from the activities of artists in today's art world.

orks Cited

Feaver, illiam. "Alien at Ambleside." The Sunday Times Magazine, August 18, 1974.

Retrieved 30 March 2008 at http://fp.armitt.plus.com/alien_at_ambleside.htm.

Krcma, Ed. "From Evacuation to Fullness: Rauschenberg in the '50s." Stammtisch Forum.

Retrieved 29 March 2008 at http://www.stammtischforum.org/synopsis_Rausch.html.

Larson, Kay. "Cage as Not Only All Ears, He as All Eyes, Too." New York Times, Feb.…… [Read More]

Works Cited

Feaver, William. "Alien at Ambleside." The Sunday Times Magazine, August 18, 1974.

Retrieved 30 March 2008 at http://fp.armitt.plus.com/alien_at_ambleside.htm.

Krcma, Ed. "From Evacuation to Fullness: Rauschenberg in the '50s." Stammtisch Forum.

Retrieved 29 March 2008 at http://www.stammtischforum.org/synopsis_Rausch.html.
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Art the French Impressionists Rendered

Words: 1675 Length: 5 Pages Document Type: Essay Paper #: 28424201

If they are a couple, they have no children together. Whereas Morisot focuses on the child in "The Basket Chair," Caillebotte accomplishes the opposite. Caillebotte's painting lacks emotional intensity, because his palette is far more retrained than that of Morisot. Morisot's garden is rendered in vivid greens and intensely saturated hues. Caillebotte's, on the other hand, is a more staid palette. Furthermore, unlike Morisot's fenced-off garden, Caillebotte's is a public park. Yet there are no other people in the park: which suggests that there are a disproportionate number of wealthy elite in Paris at the time of painting. In their own ways, the two Impressionists suggest that the bourgeois live in a world apart from the working class society. Beyond the boundaries of their respective gardens, scores of working class French men and women toil to feed the burgeoning capitalist enterprise that characterizes urbanization and industrialization. However, the subjects in…… [Read More]

References

Caillebotte, Gustave. "The Orange Trees." 1878.

Duret, Theodore. Manet and the French Impressionists. London: Grant Richards, 1910.

Fell, Derek. The Impressionist Garden. London: Frances Lincoln, 1994.

Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago Press, 2005.
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Art Landscapes East and West

Words: 617 Length: 2 Pages Document Type: Essay Paper #: 41823393



Not surprisingly, Caspar David riedrich's "Morning Mist in the Mountains" from 1808 is a markedly different work of art. His approach is definitely more realistic, and any symbolism in the painting is found strictly in the eye of the beholder. There is also no overt use of line in this painting, but rather the entire image is softened and blurred by the mists covering the mountain. The mountain, too, is seen from a much closer perspective, which actually serves to make it less dominating and forthright as its boundaries cannot be seen -- the mountain forms the entire background, rather than being the most prominent feature of it. In addition, the Western use of perspective and foreshortening is definitely visible in this painting whereas it is decidedly lacking in Kuan's landscape. The most prominent formal aspect of riedrich's "Morning Mist in the Mountains" is the contrast between the trees and…… [Read More]

Fan Kuan's "Travelers among the Mountains and Streams," painted sometime in the early eleventh century CE, is a classic example of a Chinese landscape. The title is somewhat ironic, as the travelers that are the supposed subject of the painting are incredibly overshadowed by the mountains themselves. There is an extreme use of vertical line in the painting, with the mountain appearing as a pillar of rock that takes up most of the painting. Near the mountain's base, the horizontal lines of the mist layer and the path beneath both serve to break up the painting to some degree, but the overall effect is the dominance of nature over the rather insignificant and seemingly futile efforts of mankind. Kuan's use of shadow is used to create the illusion of three-dimensionality, but the lack of color and the regularity of the lines make the painting more symbolic and representational than it is realistic.

Not surprisingly, Caspar David Friedrich's "Morning Mist in the Mountains" from 1808 is a markedly different work of art. His approach is definitely more realistic, and any symbolism in the painting is found strictly in the eye of the beholder. There is also no overt use of line in this painting, but rather the entire image is softened and blurred by the mists covering the mountain. The mountain, too, is seen from a much closer perspective, which actually serves to make it less dominating and forthright as its boundaries cannot be seen -- the mountain forms the entire background, rather than being the most prominent feature of it. In addition, the Western use of perspective and foreshortening is definitely visible in this painting whereas it is decidedly lacking in Kuan's landscape. The most prominent formal aspect of Friedrich's "Morning Mist in the Mountains" is the contrast between the trees and the mist that enshrouds them; these trees represent the only dark valued objects and are also the only parts of the painting that make use of definite lines, making them stand out quite prominently among the white mists and the blurred swathe of mountain and air the fills the painting.

Despite the differences in these two paintings, however, there are also some notable similarities. Though there are no human figures in Friedrich's paintings, the sheer scope of nature depicted could be see as a comment on human insignificance. Kuan's "Travelers among the Mountains and Streams" is much more explicit in delivering this message, but it can be seen in both paintings. Likewise, the verticality is much more subdued in Friedrich's painting, but it is interesting to note that both landscapes place their emphasis on vertical line, rather than on the horizontal of the horizon.
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Elizabethan Renascence

Words: 4876 Length: 15 Pages Document Type: Essay Paper #: 63788013

Renaissance Art

An Analysis of Love in the Renaissance Art of Sidney, Shakespeare, Hilliard and Holbein

If the purpose of art, as Aristotle states in the Poetics, is to imitate an action (whether in poetry or in painting), Renaissance art reflects an obsession with a particular action -- specifically, love and its many manifestations, whether eros, agape or philia. Love as a theme in 16th and 17th century poetry and art takes a variety of forms, from the sonnets of Shakespeare and Sidney to the miniature portraits of Hilliard and Holbein. Horace's famous observation, ut picture poesis, "as is poetry so is painting," helps explain the popularity of both. Indeed, as Rensselaer . Lee observes, the "sister arts as they were generally called…differed in means and manner of expression, but were considered almost identical in fundamental nature, in content, and in purpose" (Lee 196). In other words, the love sonnets…… [Read More]

Works Cited

Aristotle. Poetics (trans. By Gerald Else). MI: Ann Arbor Paperbacks, 1970. Print.

Greenblatt, Stephen. Will in the World. NY W.W. Norton, 2004. Print.

Hogan, Patrick. "Sidney and Titian: Painting in the 'Arcadia' and the 'Defence.'" The

South Central Bulletin, vol. 27, no. 4. (Winter, 1967): 9-15. Print.
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Da Vinci and Michaelangelo During the Renaissance

Words: 1115 Length: 3 Pages Document Type: Essay Paper #: 99065534

Da Vinci and Michaelangelo

During the Renaissance, artists evolved many of the techniques which are now employed in creating works of art. There are many great artists who came out of this historical time period and while they have somewhat similar techniques and similar subject matters, they all have unique attributes as well. In this time, one of the biggest differences between artists of the Renaissance and ones that came before is the interest that artists had in the human body and the human form. Before this time, people were painted in a flat way, but Renaissance painters tried to make the people seem more realistic, which many were very successful in accomplishing this. Two of the artists in the Renaissance who are considered to be the best are Leonardo da Vinci and Michaelangelo. When looking at their most famous works, "The Mona Lisa" and "The Sistine Chapel Ceiling" respectively,…… [Read More]

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Bruegel and Raphael

Words: 1010 Length: 3 Pages Document Type: Essay Paper #: 41288532

Breugel, The Harvesters

Pieter Bruegel's sense of space in The Harvesters largely seems to conform to the rules for perspective as laid down by Alberti. For example, we can observe in Bruegel a fairly sophisticated understanding of Alberti's basic principles for establishing perspective. For example, Alberti describes the upshot of using his basic mathematical formula in this way: "I go on from there without any difficulty to do the heights of the surfaces, since a quantity will maintain the same proportion for its whole height as that which exists between the centric line and the position on the pavement from which that quantity of the building rises" (Alberti 1436). Perhaps the strongest central structural device in Bruegel's The Harvesters is established along this principle: this is the depiction of the row of as-yet-unharvested grain, which (roughly speaking) begins in the painting's lower left corner and extends diagonally towards the painting's…… [Read More]

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Color and Van Gogh Van

Words: 1821 Length: 5 Pages Document Type: Essay Paper #: 71341354

Yet, the warmth of the sun is overwhelming and the bright blue is a thing of beauty in itself, but there is something unsettling about this scene, too. It inspires loneliness. The house is there, as if in the middle of nowhere. The two black crows following the man, looking for the seeds are his only companions. Like in so many of Van Gogh's landscapes, the image seems to be reversed, like in a distorted image of a parallel reality or as if reflected by a huge mirror hung over the earth.

Van Gogh's love of literature and especially poetry transpires from his paintings. Although the painter does not abuse color, he creates a symbiosis between color and drawing, combining sketches and patches of color in such a successful way that he realizes true poems on a canvas. e it a poem about the meaningless of human life in a…… [Read More]

Bibliography

1. van Heughten, Sjaar. Van Gogh and the Colors of the Night. The Museum of Modern Art. New York. 2008.

2. Suh, Anna. Van Gogh's Letters: The Mind of the Artist in Paintings, Drawings and Words. September 2010.
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Descent From the Cross Analysis and Description

Words: 885 Length: 3 Pages Document Type: Essay Paper #: 23068433

ROSSO FIORENTINO'S 'THE DESCENT FROM THE CROSS'

The objective of this study is to describe Rosso Florentino's 'The Descent from the Cross'.

Rosso Florentino was born in Florence and trained in the studio of Andrea del Sarto. In 1523 Rosso moved to Rome and was exposed to works of great artists including Michaelangelo and Raphael which impacted his artistic style. Rosso's masterpiece is held to be his 'Descent from the Cross' in the Pinacoteca Communale di Volterra.

Description of 'Descent from the Cross'

Medium

Rosso's painting 'The Descent from the Cross' is an oil painting that was done on wood.

Rosso's 'Descent from the Cross' depicts Christ being removed from the cross after the crucifixion following his death. The picture is painted in the form of Mannerism known to give more emphasis to the artifice and the process of creation than to the subjects within the painting. Rosso's 'Descent from…… [Read More]

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Henri Matisse Art Is Life

Words: 861 Length: 3 Pages Document Type: Essay Paper #: 94918468

He traveled to Africa, Spain, and Germany and even studied in Russia, where he was exposed to Islamic art. The Dance is one painting that captures a new direction and style of Matisse's painting. Here Matisse is focusing on a single act of humanity. The style is more compact in it use of color. The interplay of human activity is one of the most significant changes we see in Matisse's work. The colors in this piece seem to work more with each other as a whole than they do in the Open indow, Collioure. The shapes could also represent the Eastern influence that we see can be traced backed to the kind of style used in rugs or other decorative pieces. This paining looks as though it is complementing life itself. It is also worth noting that the Dance is completely focused on pleasure. In the Dance, we also see…… [Read More]

Work Cited

Flam, Jack. Matisse on Art. Berkeley: University of California Press. 1995.
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Art of Colonial Latin America

Words: 1933 Length: 7 Pages Document Type: Essay Paper #: 6585454

Admittedly, these two teams were faced with a daunting challenge in acquiring and interpreting those works of art that were most appropriate for their exhibition goals, and interpretive efforts must use some framework in which to present the resources in a fashion that can be understood and appreciated by the targeted audiences.

Nevertheless, there is little or no discussion concerning the fusion of artistic styles in the two catalogs, with a preference for a neat and orderly, date by date, presentation of representative works that typify the points being made by the exhibition. Despite these shortcomings, both catalogs were shown to be authoritative references that were supported by relevant citations and imagery. Likewise, both catalogs provide useful overviews of the materials that are being presented preparatory to their interpretation, helping place the information in its historical context.

Conclusion

The research showed that interest and appreciation in colonial Latin American art…… [Read More]

Works Cited

Bailey, Gauvin Alexander. Introduction in Art of Colonial Latin America. New York: Phaidon

Press, 2005.

Paz, Octavio. Metropolitan Museum of Art: Mexico: Splendors of Thirty Centuries. Los Angeles: The Metropolitan Museum of Art.

Pierce, Donna, Gomar, Rogelio R. And Bargellini, Clara. Painting a New World: Mexican Art
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Visual Art

Words: 656 Length: 2 Pages Document Type: Essay Paper #: 14396944

Monet's painting "Garden at Sainte-Adresse" depicts a seaside scene in France, in which two couples enjoy a leisurely afternoon in the sun. According to the description offered by the Metropolitan Museum of Art, the couple in the foreground is Monet's own father Adolphe and to his left, Monet's Aunt Madame Lecadre. The woman standing by the sea wall is apparently Monet's cousin Jeanne-Marguerite Lecadre, but the man beside her remains unidentified. All four figures cover their heads: the woman use parasols to shield themselves from the sun. Undoubtedly the setting is summertime. Monet's characteristic colors and soft yet assertive brushstrokes add to the warm feeling that envelops the "Garden at Sainte-Adresse," implying the artist's positive state of mind at the time of the composition. The rough seas in the background add contrast to the remarkably civilized scene in the foreground, perhaps suggesting Monet's awareness of the contrasts between leisurely civilized…… [Read More]

Works Cited

'Garden at Sainte-Adresse." Metropolitan Museum of Art. Online at <    http://www.metmuseum.org   /toah/ho/10/euwf/hod_67.241.htm>.

Monet, Claude. "Garden at Sainte-Adresse." 1867 Oil painting.