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There were no leaves, no fruit just the dead frame. So, while it does copy nature, it does not seem to accurately portray nature's beauty, but rather its complexity and weakness.
I almost missed the mirror sculpture because it blends so perfectly into the park. The stainless steel is polished to a mirror finish and placed in a garden, so all you really see is the garden. The only way that the sculpture caught my eye was the reflection of the sun.
Richard Serra's plate sculpture attracted the most attention from children so far. The children enjoyed running between the plates and peeking out from behind. It was a great reminder that art is meant to be experienced, not just viewed. The plates were so enormous compared with the children that it also gave a great reference for the immensity of the sculpture.
As I kept walking I encountered another…
oman art was oriented towards realistic depiction of the features, copying exactly the physiognomy, without embellishing the emperor with perfect god-like features in order to make him appear divine, instead of human.
The sculpture displays features that were obviously faithful to the real model: the thin lips, the peculiar shape of the nose, the expression lines across his forehead and around his eyes, revealing age and concern of a man that has too many responsibilities over his head. But his collected and cold eyes reveal intelligence and determination, a strong personality displayed in the authoritarian look on his face. This is where the portrait flexes reality, since Claudius was a rather vulnerable character of the oman government. However it would not fit to display his weakness in the portrait that should picture him as a proud emperor and a great leader. Some representations of Claudius often show him dressed in…
Sellers Strong, Eugenie. Roman Sculpture from Augustus to Constantine. Manchester: Ayer Publishing, 1979.
This is one of the reasons why it is difficult to differentiate when the actual oman work first emerged that stood on its own apart from the Etruscan works. It is also true that the time periods overlapped, and something is only known as oman because it is consists of specific oman items such togas.
Both the Etruscan and the oman bronzes had very fine detail in the folds of the clothes, the curves of the muscles and the body, the lines in the face and the turns in the beard. One can definitely see the impact of the Greek artisan on both these cultures.
However, one of the things that does distinguish the Etruscan from the oman bronzes is the latter's greater emphasis on the political leaders, especially the emperors. In fact, many of the statues are so refined that they appear godlike in their superhuman form. An aspect…
Janson, H.W. History of Art. Englewood Cliffs, N.J.: Prentice Hall, 1967.
Demargne, Pierre (Translated by Stuart Gilbert). Birth of Greek Art. New York: Golden Press, 1964.
Horse and Rider
The statuary which is called "Female Horse and Rider" depicts an Asian woman atop a brown horse. It is a piece of art that is made from clay. There was little technological advancement such as kilns from the period, so it is likely that this piece was made from a type of clay which can be dried through the natural air. The woman wears a large, oversized brown hat which is nearly the size of her head itself. It has a large brim which would have shielded her pale skin from the dangers of the sun. This woman has extremely pale skin which shows her ethnicity and the fact that this is very likely her normal clothing type. Besides the hat, the woman has on what looks to be a yellow blouse, but may be orange. It is difficult to tell if the color differences are intentional…
Two of the most notable examples of prehistoric art, the Woman of Willendorf and the cave paintings at Lascaux, have the power to inspire awe and stimulate discussions on the consciousness of early humanity. The cave paintings at Lascaux, in modern-day France, are rendered with remarkable deftness and skill. Likewise, the sculpture of a fertile woman found in Willendorf in modern-day Austria bears testimony that early artwork showed signs of technical sophistication. These works of art also shed light on the values, worldviews, and ways of life of prehistoric human beings. The creative impulse, the drive to create not just practical tools for daily life, but also objects of art, exemplifies the advancement of human consciousness beyond the simple animalistic survival instinct. The Woman of Willendorf and the cave art in Lascaux show how human beings expressed their self-consciousness and how they envisioned their role in the greater world around…
“The Cave Paintings of the Lascaux Cave,” (n.d). Bradshaw Foundation. http://www.bradshawfoundation.com/lascaux/
Tedesco, L.A. (2000). Lascaux. The Met. https://www.metmuseum.org/toah/hd/lasc/hd_lasc.htm
“The Woman of Willendorf,” (n.d.). World History Chronology. http://www.thenagain.info/WebChron/World/Willendorf.html
Zygmont, B. (n.d.). Venus of Willendorf. https://www.khanacademy.org/humanities/prehistoric-art/paleolithic-art/a/venus-of-willendorf
William Morris viewed glass as a way to recreate ancient archeological artifacts—items that looked like they were made of bone, sinew, or fiber. He turned glass into objects that looked like something else completely—an animal’s horn or a skin flask. John Ruskin was a philosopher and art critic who viewed Venice as the epicenter of artwork and a city that was a work of art in and of itself. This concept was passed on to Dale Chihuly, who welcomed the artistic philosophy that art is comprised of a dynamic in which color and space play integral parts. Chihuly’s glass making has a little bit of Morris and a little bit of Ruskin in it in the sense that his objects are dynamically produced—full of color and life—and yet so unlike other glass artifacts that they have a life all their own. They explode outward as though they were…
An unconventional equestrian statue adorns the outside of the Federal Trade Commission building in Washington, D.C. Rather than riding astride his horse, the man depicted in the statue by Michael Lantz is wrestling with the animal. The physical exertion on the part of both man and horse is immediately apparent in their expressive body language, tense musculature, and fervent facial expressions. Erected in 1942, the "Man Controlling Trade" is deeply symbolic and perfectly representative of the core mission of the FTC. The FTC exists to regulate business, with goals of preventing monopolies, stimulating healthy competition, and encouraging entrepreneurship. In Lantz's statue, the horse represents unregulated trade. The massive creature is, ironically, one that has been tamed for use by human beings for centuries if not thousands of years. The horse has been used as a mode of transportation and beast of burden, and was used as both up until…
Sculpture as Art
Sculpture is art for a variety of reasons. First, the sculptor must study art, to begin his craft. He must also study stone carving, or work with stone and other mediums to become successful. Michelangelo did not simply pick up a chisel and begin to carve the Pieta; he studied with several masters, and worked on his art for years before he sculpted this masterpiece.
He had to learn about the human body to sculpt it correctly, and he had to know about the properties of the marble so he could carve and mold it without cracking it, and ruining the work. Modern sculptors may not use stone for their work, but the majority of them still have to understand the principles behind art, as well as the principles of the medium they work with. Even sculptors who use junkyard parts have to understand how to piece…
Moore's figure has no discernable facial features as the Chac Mool does.
The effect of Moore's drapery is different from the stiffer clothes worn by the Chac Mool. Moore's figure seems more fluid and therefore more relaxed than the stiffer, more stoic Chac Mool. The latter is in stone and the former in bronze, adding to their overall effects. The Chac Mool also seems more angular, as the figure has more straight lines than the Moore bronze.
5. What are the most obvious similarities between her sculptures and Henry Moores sculptures.
n general, Barbara Hepworth's collection is less representative and more abstract than Henry Moore's. Moore appreciates the use of figures and has drawn heavily from indigenous arts like the Chac Mool stone statue. Few of Hepworth's pieces are representative or anthropomorphic.
However, Moore also incorporates abstraction into his work. The Large Arch in Oslo, for instance, is a sensual…
In general, Barbara Hepworth's collection is less representative and more abstract than Henry Moore's. Moore appreciates the use of figures and has drawn heavily from indigenous arts like the Chac Mool stone statue. Few of Hepworth's pieces are representative or anthropomorphic.
However, Moore also incorporates abstraction into his work. The Large Arch in Oslo, for instance, is a sensual archway that hearkens to the human form. The Art Gallery of Ontario collection of Henry Moore works includes several abstract pieces. Some of Moore's figures border on the abstract like the Reclining Figure at Cambridge.
Moore's oval series such as the Double Oval and Oval with Points at the Henry Moore Foundation demonstrates remarkable similarities to Hepworth's sculpture. Hepworth does include several oval forms in her portfolio such as a bronze one from 1964. Hepworth and Moore both use negative and positive space in their respective oval and sphere sculptures. They worth their media around empty space by creating holes inside the ovals and spheres. Hepworth's Spheres with Inner Form like the ones at the Kroller-Muller Museum and the one at Cornwall are similar to Moore's ovals, although Hepworth uses a greater variety of sculpting media (including marble and wood) than Moore does.
Patrick Amiot and Brigitte Laurent are a husband and wife team working out of Sebastopol, California. Amiot salvages discarded material, mainly metal, for the use and re-use in the assembly of semi-public art. Laurent paints the sculptures and provides the detailing that, according to the artists' website, brings them to life. The work of Amiot and Laurent can be too easily dismissed as lowbrow, when in fact, the underlying meaning and message of the sculptures is one that is socially conscious and politically profound.
Most of the Amiot and Laurent sculptures are figurative and representational. Although there are abstract elements in each of the compositions, they each depict either a fictitious or historical figure. For example, the sculptures on display in Sebastopol include one of Yankees legend Babe Ruth. Batman also makes an appearance in a Amiot and Laurant sculpture garden.
hat makes the Amiot and Laurent sculpture garden…
"Patrick Amiot & Brigitte Laurent Sebastopol Sculptures." Retrieved online: http://patrickamiot.com/
An overhead perspective of the work is provided in Figure 1 below.
Figure 1. "Oval with Pendulum" by Gabriel Orozco.
Source: Commonwealth, Tate Gallery 2003 at http://www.tate.org.uk/modern/exhibitions/commonwealth/.
As can be readily seen in Figure 1 above, this work is not a traditional piece by any means, but the artist clearly spared no expense in creating an elegant and sophisticated work that quickly catches the eye and invites further investigation and hands-on activity. In fact, perhaps the most appealing quality of this work and many of the others by Orozco is its accessibility and overwhelming sense of participating that it engenders in the viewer. ho could resist trying their hand at this graceful but apparently challenging "game" that does not appear to have any specific rules but does provide viewers with some concrete artistic boundaries in which to formulate their own. In this regard, Joselet points out that, "Oval with Pendulum…
Biography: Gabriel Orozco." (2007). Art 21: PBS.org. [Online]. Available: http://www.pbs.org/art21/artists/orozco/index.html .
Iversen, Margaret. (2004). "Readymade, Found Object Photograph." Art Journal 63(2): 44.
Joselit, David. (2000, September). "Gabriel Orozco." Artforum International 39(1): 17.
Lovejoy, Margot. Digital Currents: Art in the Electronic Age. New York: Routledge, 2004.
This sculpture is carved from the juniper tree.
Modeling is an example of the additive process. Clay is most commonly used for modeling purposes. Its pliable qualities lends this material perfectly not only for adding to the initial product, but also for molding it according to the sculptor's wish. Clay is furthermore a popular materials because of its capacity to retain its shape after being molded. Firing or baking clay shapes makes it waterproof, hard and durable. The term commonly used for clay art and craft is ceramics.
An example of ceramics is Case of Bottles by Robert Arneson. This work creates a poignant contrast between Arneson's rough, hand-made work and the subject-matter he addresses, which focuses on mass-produced, consumer products. Clay lends itself particularly well to this clever use. In this, clay is perhaps the easiest sculpting material to work with when using the additive…
The way the sculptor created shapes inside the shape itself make the light on the sculpture change and alter throughout the day, casting shadows here and there in random patterns. It makes the sculpture more interesting and effective, I think.
It is also interesting that the statue does not have any arms. In this, it is like the ancient statue of Venus, that is missing its arms, and that ties the old and the new together in this work. It is interesting to see how other people create art and what shapes and colors they see in their art, and this piece is interesting, 3-dimensional, and very representative of obert Cole's modern art vision. I like this piece, and would like to see more of Cole's work in the future, up close and personal.
Cole, obert. "Direct Metal Sculpture." StudioCole.com. 2008. 31 Jan. 2008. http://www.studiocole.com/cole.html
Cole, Robert. "Direct Metal Sculpture." StudioCole.com. 2008. 31 Jan. 2008. http://www.studiocole.com/cole.html
paid a visit to the Eclectic Menagerie Park, which is on the south side of the city. The Menagerie Park is an open-air space, privately-owned but available to the public, that contains a number of large animal sculptures. Some of the best pieces are made from iron. Some of the finer examples include a massive armadillo, a winged dragon-like creature, a stegosaurus, roadrunner and a birdman. The Birdman is constructed out of iron bars, a medium which befits the location adjacent to an iron pipe yard, invoking the same industrial aesthetic. The Birdman's intricate nature is such that it appears to be the most complex work there. The Birdman was created by Ron Lee, who constructed most of the pieces at the park. It is made out of iron. There is no date on the work, so the date of creation is unknown.
Contextually, the Birdman is a mythological creature…
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…
Krauss, R. (1979) Sculpture in the Expanded Field. October, 8, 30 -- 44.
There is an emphasis on harmony in this structure that shows a new way of thought, and this sense of harmony would be carried over into other works of art of the period and later periods, harmony now being seen as an important artistic virtue. The elaborateness of the decorations have become identified with the Gothic period. As can be seen from the column from Saint-Denis, this sort of elaborate decoration took many forms and most often built sculpture into the building itself. The column from Saint-Denis also shows the power and importance of aesthetic harmony in the figure of a king seeming to emerge from the column itself. This element was not just an aesthetic but a philosophical statement of the time. Suger was much preoccupied with speculations on the metaphysics of light, which governed many of his decisions about the architecture of the building. At the same time,…
Frankl, Paul. Gothic Architecture. Baltimore, Maryland: Penguin Books, 1962.
Heilbrunn Timeline of Art History (2008). November 20, 2008. http://images.google.com/imgres?imgurl= http://www.metmuseum.org /toah/images/h2/h2_20.157.jpg&imgrefurl=
A Timeline of Greek Sculpture
Polykleitos, Doryphoros (early fourth century BC)
As Paul Johnson (2003) records, this ancient example of Greek classicalism "epitomizes a canon of male beauty embodied in mathematical proportions" (p. 63). Showing the perfection of contraposto, Doryphoros (or the spear-carrier) is a balanced representation of the body's muscles. Polykleitos, a contemporary of Phidias, had his own school of young artists, which carried on into the third century BC. Polykleitos' works are treated on in his own treatise, called "The Canon," which gave explicit attention to symmetry, clarity, and wholeness. The Spear-carrier is one of the best examples of Polykleitos' teaching -- however, this example is a copy of his original, and is held in Naples -- a fitting representation of the art of Greek sculpting.
Praxiteles, Aphrodite of Knidos (mid-fourth century BC)
Praxiteles actually made two statues for Kos -- so the legend goes. One…
Agony -- The Famous Group of Laocoon. (n.d.) Old and Sold. Retrieved from http://www.oldandsold.com/articles26/rome-19.shtml
Haaren, J. (2000). Famous Men of Greece. Lebanon, TN: Greenleaf Press.
Johnson, P. (2003). Art: A New History. New York, NY: HarperCollins.
The Farnesse Bull. (n.d.) Old and Sold. Retrieved from http://www.oldandsold.com/articles26/naples-5.shtml
The Hope Athena
According to the Greek mythology, the people that resided in a place called Attica (Greece) derived the name to the current, capital city of Greece (Athens) in honor of the Goddess Athena. People from Athens built a brilliant temple on the Acropolis, which they then called the Parthenon. The word 'Parthenos' stands for maiden when translated into Greek. An ancient myth stated that the gods established a decree that the goddess Athena was supposed to remain single and virgin. The myth is has been proven true as its perceptions realistically happened. The Hope Athena sculpture was excavated together with another statue (Hygeia) in the year 1797, in the port of Rome at Ostia (Murrin 2007). Thesis- The Hope Athena is a sculpture is a representation of ultimate impersonation, predictability and innovation towards Greek history. The assumption underlain by the sculpture's stylistic nature is…
Baker, Jenifer P. Goddesses, Greek Athena (Greek deity): Calliope. Vol. 22 Issue 4, 24-26, Jan 2012.
Columbia Electronic Encyclopedia, Sixth Edition. Pg 1. 11/1/2011.
Dobson, Marcia. International Journal of Psychoanalytic Self-Psychology; Supplement 1, Vol. 4, 5-16. April 2009.
Hearst the Collector, Los Angeles: Los Angeles County Museum of Art; New York: Abrams, 2008.
The Baroque was a dramatic period in Europe: the religious unity the continent had enjoyed for centuries had come to a crashing halt with the Protestant Reformation. King was turned against King, prince against pontiff. Persecution and war were dominant themes, especially following the excommunication of Henry VIII from the Church. Bernini's David, sculpted between 1623 and 1624, represents the swirling, dramatic, grim activity of the times (Avery). It is indeed a strong manifestation of the Baroque principles and themes: David is reared back, depicted in mid-action, like a lock ready to be sprung on his foe. He is full of conviction, bent on striking, Unlike Michelangelo's Renaissance Era David, which aimed mainly for a frontal view to show off the human form and which conveyed a sense of the confidence, leisure, pride and grandeur of the Renaissance Age, Bernini's David is a figure of determination -- a…
Avery, Charles. Bernini: Genius of the Baroque. London: Thames and Hudson, 1997.
Cunningham, Lawrence; Reich, John. Culture and Values: a Survey of the Humanities.
NY: Cengage, 2014. Print.
Notable religious events and figures often serve as the inspiration and subject matter for great works of art across human history and across every culture. Events and notable figures from the Judeo-Christian Bible have inspired a great many of some of the most famous works of art in the Western world. Within the Bible, there are two primary sections: the Old Testament and the New Testament.
One of the many significant figures of the Old Testament is the man David, who was a simple boy who herded sheep, who ultimately led his people and others to triumph over a tyrant warrior, Goliath. David was a young man, armed with a slingshot and brought the vicious leader down. David was quite a popular figure artists depicted during the enaissance era in the arts, particularly in the area of sculpture. There are three most notable sculptures created in Florence during the…
Boston College. "Renaissance Sculpture." 2012, Web, Available from: http://www.bc.edu/bc_org/avp/cas/fnart/art/ren_italy/ren_sculpture01.html . 2012 September 24.
Essential Humanities. "Renaissance Sculpture." 2012, Web, Available from: http://www.essential-humanities.net/western-art/western-sculpture/renaissance-sculpture/ . 2012 September 24.
History World. "History of Sculpture." 2012, Web, Available from: http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=fch . 2012 September 24.
Italian Renaissance-Art.com. "The most famous statue in the world?" 2012, Web, Available from: http://www.italian-renaissance-art.com/Michelangelo-David.html . 2012 September 23.
Since the Greek kouros, sculpture has depended on at least a basic understanding of human anatomy. Anatomy was in fact studied by ancient civilizations independently of its relevance to rendering the human body in two dimensions or three for art. The fusion of anatomy and art reached its first peak during the Renaissance, when artists in Europe longed to deepen their technique and enhance the realism of their human forms and figures. Some artists went so far as to paint anatomy lessons in a display of dramatic irony that brings the viewer face-to-face with the reality that art depends on a solid understanding of the human body. In the middle of the seventeenth century, Dutch master Rembrandt van Rijn painted "The Anatomy Lesson of Dr. Nicholas Tulp," which depicts the titular doctor and his cadre of students with a corpse. Dr. Tulp uses a pair of scissors to slice…
Bambach, Carmen. "Anatomy in the Renaissance." Hellbrun Timeline of Art History. Retrieved online: http://www.metmuseum.org /toah/hd/anat/hd_anat.htm' target='_blank' REL='NOFOLLOW'>
Figurine of the Goddess adjet
In the Los Angeles County Museum of Art, there is a sculpture in the Egyptian wing that depicts one of the Egyptian goddesses. The piece is entitled "Figurine of the Goddess adjet." It is located in Hammer Building Room 303 of the museum amongst the other Egyptian art exhibits. It was given to the museum from the Hearst family, famous for their collection of ancient, historically-significant pieces of art and it is obvious that despite its age, the sculpture has been carefully preserved. This particular piece is from the 26th dynasty of Egyptian rule and is estimated to have been created between 664 and 525 BCE. It is unknown exactly who sculpted the figure. Since the actual date of the sculpture is unknown, it is logical that the sculptor is also a mystery.
Although the figure is fairly small, only standing 13 inches high, it…
Janson, H.W. & Janson, A. (2008). Janson's A Basic History of Western Art. 8th.
In or around the year 1325, an unknown German artist sculpted a dramatic scene central to the story of Christ: the moment at which ary laments the death of her only son. This poignant moment is known as "the pity," or pieta. The pieta scene was popularized toward the end of the thirteenth century, making the Roettgen pieta one of the earliest and most historically significant representations this particular moment of passion. The scene is one that would become pervasive in Christian art and iconography, and studies of pieta sculptures can serve as proxy studies of the evolution of Western art, and Christian-themed Western art in particular. At the time the Roettgen pieta was created, pieces like these were known in German as Andachtsbild, or images used for contemplation[footnoteRef:1]. These images were especially common in Germany during the late medieval and Romanesque periods.[footnoteRef:2] oreover, "as affective meditations increased…
Mercer, Christia. "A Mother's Loss: The Medea and the Roettgen Pieta." Lecture. June 29, 2010.
Mercer, Christia. "Knowledge and Suffering in Early Modern Philosophy: G.W. Liebniz and Anne Conway." http://blogs.cuit.columbia.edu/cm50/files/2011/10/Mercer-Philosophy.pdf
Sullivan, R. "Deformity: A Modern Western Prejudice with Ancient Origins." Proceedings of the College of Physicians Edinburgh 31: 262-266.
It is our clear understanding that this classification was not associated to the expect usage of the item. Indeed, whatever its aesthetic judgment on the object, the government will have been in a position to honestly determine that the object was intended for gallery observation much in the same fashion as would be any more convention sculpture or painting. The lack of connection in its intended usage and the classification foisted upon it for purposes of taxation denotes a clear inconsistency on the part of Customs. Here, Brancusi has been the victim of a customs agent who has appointed himself as a critic of art.
In Brancusi's case, there would be a perception that the piece was simply not good enough, traditional enough or representative of its supposed subject enough to be regarded as art. Naturally, there are no laws defining art which abide these subjective notions of qualification. But…
BBC. (2005). Sculpture Breaks Auction Record. BBC News. Online at http://news.bbc.co.uk/2/hi/entertainment/4516303.stm
Time Magazine. (1928). Art: Custom House Esthetes. CNN. Online at http://www.time.com/time/magazine/article/0,9171,928613,00.html
Greek Project 1272
ART204 Formal Research Project Summer Term 2012
Ancient Greek sculpture is one of the most famous historical forms of art. Three main forms of life are represented by this sculpture; war, mythology, and rulers of the land of ancient Greece. The main aim of the paper is to revisit the history of the art of sculpturing in ancient Greece and different steps of its development within different time periods. Some of the main developments in Greek sculpture included depiction of changes in forms, depiction of female and male figures, degrees of present realism, and how sculpturing was used to achieve these effects.
Developments in Greek Sculpturing techniques
There are four main periods in which main developments and changes in the Greek sculpturing took place. The first period is referred to as the geometric period; second period is the archaic period, the third one being the classic and…
Dillon, Sheila. Ancient Greek Portrait Sculpture: Contexts, Subjects, And Styles. Cambridge University Press, 2006.
Dillon, Sheila. The Female Portrait Statue in the Greek World. Cambridge University Press, 2010.
Giannakopoulou, Liana. The Power of Pygmalion: Ancient Greek Sculpture in Modern Greek Poetry, 1860-1960, Volume 3 of Byzantine and Neohellenic Studies. Peter Lang, 2007.
Art (History Art ages) Discussion question 1 page long follow directions carefully youtube lectures provided
There is no denying the fact that one of the hallmarks of embrandt's works of art is his copious usage of elements of light, dark and shadow to great effect. This sort of tenebrism is deployed by the artist initially to give a sense of contrast to his works. Light and dark are antipodes of one another, and by involving both of these elements the painter was able to create striking counterpoints within his works of art. This fact is seen quite prominently in his self-portrait circa 1629. Not only does the artist use both light and dark elements to illustrate his face and the brimming future which he saw in front of himself as an artist, but this portrait is also characterized by loose brushwork which is distinct from the crisp strokes of the…
Soltes, O. (2011). "Shadow and light from Rome to the lowlands." www.youtube.com. Retrieved from https://www.youtube.com/watch?v=VeUdxzqslQ0
Herbert eed 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. egardless, 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…
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/
Kosinksi, Dorothy 2001. Henry Moore. New Haven: Yale University Press.
Mitchinson, David. 1998 Celebrating Moore. Berkeley: UCLA Press.
These pastel-colored etches influenced Degas' late-life paintings. Those were characterized by women frequently engaged in some type of grooming, such as bathing. Rather than the tightly-structured lines of his earlier works, these later works seemed more hurriedly-drawn and less meticulous than his early works.
For example, in oman Drying Her Hair, a pastel on paper, Degas depicts the back of a nude woman, drying her hair. Unlike many of his works, which overtly differentiate between women of different classes and different occupations, this image in the photo is very every-woman. The bather is classically female, but the painting holds no clues as to her lifestyle outside of the bath. Moreover, the work demonstrates Degas' unique use of light, as it contains unrealistic amounts of shadow, almost as if the bather is caste in an artificial light. Though Degas rejected much of what has come to be associated with Impressionism, his…
Degas, Edgar. Dancer at Rest, Hands Behind her Back, Right Leg Forward. Brooklyn Museum,
Brooklyn, NY, 1882-1895.
Degas, Edgar. Portrait of Mlle Fiocre in the Ballet "La Source." Brooklyn Museum, Brooklyn,
Bird-Headed Bas Relief
Balefully staring out from a fragmentary bas-relief panel of mottled grey-brown stone, the bird- or reptile- headed creature dominates this viewer's attention: it is an Assyrian religious carving of some sort, entitled "Bird-Headed Deity," dated to 885 BCE and found in Calah, Iraq. The mottling of the stone is inherent in its quality: to a certain extent, the artist seems to have placed the figure so that the mottling would settle like an aura around the creature's head. What remains of this broken engraving from the reign of Sardanapalus, or Assurbanipal II, the last recorded emperor of Assyria, coheres in the form of a loose and lopsided pentagon -- the shape itself of the broken panel is five-sided, but tilts up toward the right, and looks like home plate at a baseball game seen in extreme perspective. The panel itself is mounted on a concrete square of…
The bronze cools and the plaster mold is broken. The sculpture is cleaned, ground and welded to blend the surface texture. Finally, the bronze sculpture is treated with chemicals and heat to give it color or "patina" when it reacts with the air (Hatcher 72-74). Now one can easily see all the creativity, time and resources that went into this sculpture.
How different from odin's sculpture is this second piece of art, "The Oath of Horatii" by Jacques-Louis David. In about 1781, very early in his career as artist, David started thinking about the Horatii from a play dealing with Ancient oman history: The oman Horatii (named after legendary triplets) and the Alban Curatii were chosen to fight each other to death in order to determine the stronger town. The two families fighting were related by marriage, so it would be a tragedy no matter who was victor. Horatii won…
Calvet, Arlette. Unpublished Studies for "The Oath of the Horatii" by Jacques-Louis David. Master Drawings, (1968) 6.1: 37-42, 81-90.
Chilvers, Ian. Dictionary of Twentieth-Century Art. Oxford: Oxford University Press, 1999.
Eitner, Lorenz. An Outline of 19th Century European Painting: From David through Cezanne. New York: Westview Press, 1992.
Hatcher, Evelyn Payne. Art as Culture: An Introduction to the Anthropology of Art.: Westport, CT.: Bergin & Garvey, 1999.
Period/date- enaissance 1501- 1504
Location or origin- Florence Italy
Medium and size- Sculpture
Period/date- Baroque 1610
Location or origin- ome
Medium and size- Painting
The story of David and Goliath is one that transcends time. In particular, the story appeals to a wide array of diverse individuals, each with its own views on religion, culture and values. Through the universal appeal of David, many different interpretations have arisen throughout time. These interpretations, although distinct, often convey a fundamental truth prevailing during the period of its creation. Aspects such as war, political policies, civil unrest, and culture values often matriculate into the interpretation of the David of Goliath. Art is no different in this regard. Both the Baroque and enaissance periods gave rise to new and distinct forms of belief and expression. These concepts ultimately matriculated into many of the more commonly know masterpieces of today's time. The…
1) Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams,1982
2) Howard Hibbard, Michelangelo, New York: Harper & Row, 1974, 59-61; Anthony Hughes, Michelangelo, London: Phaidon, 1997, 74
Caro and DeMaria
Anthony Caro and Walter DeMaria:
wo Masters of Modern Art
Modern art is a conglomeration of talented individuals and unique means of expressing oneself. Each piece of art is therefore a process of inspiration and thought provocation incomparable to any other. wo pieces that are truly unique in this movement are Anthony Caro's sculpture entitled "Midday," and Walter DeMaria's installation, "he Earth Room." hese two singular installations are perhaps not very well-known, but they are important to analyze. he paper below will thus explore the specific processes of these two works of art, but also their place in art history.
o begin, one must analyze Caro's "Midday." he sculpture was made in 1960 out of steel. he dimensions are approximately 240 x 96.5 x 366 centimeters, and the work is painted yellow. here is no easy way to describe Caro's work, which has traveled from the MoMA…
The writer here describes that one the visitor does see the Earth Room in its full glory, so to speak, the combination of the whiteness of the walls, the light bulbs, the dark earth is quite amazing and truly showcases the innovative view that the artist once had. The author also adds the surprise of entering a space, which is meant to be a modern apartment in a very expensive and exclusive area of Manhattan, but instead of wood floors to see the earth, and element which belongs in nature, but which truly enables one to have a wonderfully unique experience. In this case, the blogger states that she laughed as she imagined "real estate agents in New York outraged at 3,600 square feet of precious SoHo floor space completely covered in soil." [10: "Walter De Maria: The New York Earth Room, 1977." Contemporary Art New York. Web. 05 June 2011. . ]
Furthermore, the installation is not simply art which must be dusted, it is a living thing, that must be taken care of organically. For this reason as well it is even more unique. First, it must be watered and raked once a week. This is done so that the earth keeps its freshness, richness, and wetness. Another strange elements, however, according to the blogger, is that there is no actual plant growing out of the earth and it is, of course, not meant to be touched, which creates "a particular tension in the viewer who can look, smell, and feel the air around her, but not come into direct contact with a material suddenly made sacred as De Maria's art work." [11: "Walter De Maria: The New York Earth Room, 1977." Contemporary Art New York. Web. 05 June 2011. . ]
Indeed, these two works of art are unique in their own ways. Caro's sculpture is just as modern as DeMaria's work, but each are very different. Caro focuses on a sort of industrialism and modernism made from already existing element, while DeMaria focuses on something quite simple, organic and not at all man-made. The works are, needless, to restate, breathtaking in their own ways.
The function of the work of art would be to stand before the city, and to show the city as wisdom personified, and by implication show that the wisdom came from the works and power of the Medici. It would make an analogy between the city-state of Florence and the ancient city-state of Athens. Because Athens was a genuine republic, it might even deflect some criticism from the Medicis, who were technically supposed to be residents of a republic, even though they ruled from behind the scenes. The setting of the sculpture, next to David, outside the city gates would act as a powerful warning of the city's power (with the violence of the anvil and David's shotgun) as well as strike a balance between Classical representations of learning and the still-important tenants of the Catholic faith that must be honored in a world still dominated by the clergy.
Essak, Shelly. "Art History 101 - Early Renaissance Art." 2007. 20 Apr 2007. http://arthistory.about.com/cs/arthistory10one/a/early_ren.htm
Medici: Godfathers of the Renaissance." PBS.com. 2007. 20 Apr 2007. http://www.pbs.org/empires/medici/medici/snapshots.html
Pioch, Nicolas. "La Renaissance: Italy." Web Museum Paris. 2002. 20 Apr 2007. http://www.ibiblio.org /wm/paint/glo/renaissance/it.html' target='_blank' REL='NOFOLLOW'>
David Gilhooly the Ceramist
The art of using ceramics for sculpturing is traced many years back. In the early days ceramics were used in conjunction with the art of pottery. Ancient people used the art to mould their artificial gods. As things and traditional technology advanced, people started using ceramics to mould other relevant objects of use in their day-to-day life. It is under this progressive notion that major artists in the moulding and pottery began rising up.
David's early and artistic life
David James Gilhooly is amongst such artists. He was born around 1943 in California, where he undertook his scholarly work. Throughout his pursuit in education, David developed an interest in making things out of his own designs and materials. He was among the initial students at the Davis Ceramics Department. As early as 1948, he began collecting wares such as telephones, stamps and coins. Around the same…
Adelman, Alex. David Gilhooly. Masterworks of Fine Art.
Heath, Terrence, Fafard, Joe and MacKenzie. Joe Fafard. Chicago: Douglas & Mclntyre. 2008.
Kerr, Don. The Garden of Art: Vic Cicansky, Sculptor. New York: University of Calgary Press. 2004.
Landauer, Susan, Gerdts, William, H & Trenton, Patricia. The Not-So-Still Life: A Century of California Painting and Sculpture. California: University of California Press. 2003.
The work has a tactile, spread out effect ("Tom friedman," 2010). It is like a scratch and sniff, one view and that is it.
In the case of Erwin Wurm, the artist has developed a series of what he calls "One Minute Sculptures." In them, he poses himself or one or more of his models in unexpected relationships in close combination with everyday objects close by. This prompts the viewer to question their very definition of what sculpture consists of. Wurm sought to use what he termed the "shortest path" in the creation of a sculpture. He wanted a clear and fast (at times humorous) variant of artistic expression. The sculptures that he created are fleeting and they are meant to be temporary and spontaneous. The images the he captured were only on film or in photography. A good of such a wok is Wurm's is Fat Convertible…
Rougeau, K. (2008). Marcel duchamp: Fountain. Retrieved from http://*****/art-and-artists/marcel-duchamp-fountain/.
Syed, A. (2009, June 09). Erwin wurm, one minute sculptures. Retrieved from http://thewondrous.com/erwin-wurm-one-minute-sculptures/ .
Tom friedman. (2010). Retrieved from http://www.designboom.com/portrait/friedman.html .
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…
Chicago Sculptures. (2011). Professional Safety, 56(4), 64.
Cunningham, B. (2011, June 5). City in Bloom. New York Times. p. 4.
The Warhol Bubble. (2012). Wilson Quarterly, 36(1), 72-73.
Windy City Windfall. (1966). Time, 88(13), 83.
Bust of Antinous
The piece of Roman art being discussed is the bust of Antinous Mondragone, which is now in the Louvre in Paris, and it came from the Mondragone villa, located in Frascati, Italy. The artist is unknown, but it is thought to have been sculpted around 130 AD. This beautiful sculpture represents much of Roman art at the time, and it represents a larger cultural context, as well.
The arts were becoming popular during this time in the Roman Republic, and sculpture was becoming increasingly popular after the Romans captured Syracuse during the Second Punic Wars and brought back much of the island's sculpture to display in Rome. Roman sculpture often copied classic Greek statutes, because the artists and people admired Greek art. The sculptures were often of Roman rulers, indicating how important they were to the culture, and how they were held up by the people as…
In "Burial at Ornans," the brightest and most colorful figures are various figures in the church. An altar boy, a priest, a man carrying a staff of the crucifix, and bishops are in the forefront. They direct our eyes to the left of the painting and create a movement towards the right where the majority of the figures are in the painting. Our eyes gravitate to their area first because there are reds and because that is where the most light is. Just as the figures walk to the right, our eyes do so as well. We see onlookers and patrons -- average members of the society. They blend together due to the similarity of hue and color. This conveys that they are interchangeable and unimportant. In "Third Class Carriage," the brightest areas of the painting are of the woman nursing and the elderly woman. They are strongly lit…
Fauvism in 20th-century Paintings
The medium I have selected for the time line I will be working on for the museum website is 20th-century Western painting, sharing the common theme of Fauvism.
th-century Western painting began with the weighty influence of painters like Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri de Toulouse Lautrec and the like - all of whom played critical roles in shaping the modern art. At the start of the 20th-century Henri Matisse, along with a number of other young artists including Andre Derain, aoul Dufy, and Maurice de Vlaminck collectively influenced the existing Paris art scene by introducing "bold," vividly vibrant paintings of landscapes and figure. The style adopted by these young artists that have been referred to as Fauvism by critics. Fauvism is predominantly talked about as the style characteristic of the works of a seemingly loose group of Modern artists in…
Derain, A. (Painter). (1903). Self-portrait in the Studio [Painting], Retrieved September 10, 2011, from:
Derain, A. (Painter). (1906). Charing Cross Bridge [Painting], Retrieved Sep 10, 2011, from:
Describe the object in detail. What is the medium? What is the color and size? If there are human figures what are they doing? How are they posed? What are they wearing? What are the expressions on their faces?
According to the website of the J. Paul Getty Museum in Los Angeles, The Hope Hygieia is a marble, life-sized statue of the ancient goddess of health that was originally discovered in the ancient Roman port of Ostia in 1797. It was originally owned by the British collector Sir Thomas Hope before being sold to William Randolph Hearst, who donated it to the city of Los Angeles in 1950. Over the years, the statue has been restored, de-restored to the condition in which it was originally found, the re-restored at the Getty Museum in 2006. This is a white marble statue with the clothing and hairstyle of a young Roman…
Venus in Art
Introduction to Venus and Aphrodite:
Throughout history, Venus has long been a source of inspiration for artists. Her representation of love and beauty has been captured in various mediums, from the visual arts of paintings and sculpture to music and drama; Venus has served as a universal symbol of beauty and has embodied the secrets of love. Central to understanding how artists have been able to use her as such a representation of love and beauty, is understanding Venus and Aphrodite's roles in history and Greek mythology.
Venus is an ancient Italian goddess closely associated with fields and gardens and later identified by the Romans with the Greek goddess of love, Aphrodite. Although the question as to how Venus came to be identified with so important a deity as Aphrodite remains unanswered, Venus' identification with Aphrodite is certain and because of this is often depicted in art.…
Arscptt, C. & Scott, K. (Eds.) (2000). Manifestations of Venus: Art and sexuality. New York: Manchester University Press.
Beckley, B. (ed.) (1998). Uncontrollable Beauty: Toward a new aesthetics. New York: Allworth Press.
Hersey, G. (1996). The evolution of allure: sexual selection from the Medici Venus to the Incredible Hulk. Cambridge, MA: The MIT Press.
Goodman, E. (ed.) (2001). Art and Culture in the Eighteenth Century: new dimensions and multiple perspectives. Newark: University of Delaware Press.
One look at Brancusi's "The kiss" and I was left with a completely different feeling. The two lovers' contact is reduced to their lips. They are looking in to each other's eyes but cannot see - or touch, any part of their partner's body. I think that his intentions were the same as in the case of Rodin, but the difference is in their aesthetics. Rodin aimed at expressing love and sexuality through a fullness of forms whereas Brancusi wanted to depict this feeling using exactly the opposite method, i.e. reduced natural forms so that the essence would perhaps be less obvious but more conceptual. I think that through simplicity, keeping the basics of his image of a kiss intact, i.e. The man and the woman (the distinction is made by the fact that the woman - on the left - has long flowing hair, a symbol of femininity), their…
hen discussing with regard to the Old Testament figure of David and to how he was represented during the Renaissance, one would have to consider the current as a whole in order to gain a more complex understanding of why artists directed their attention toward the character. Artists during the Renaissance were determined to restructure social values for the masses to be able to acknowledge the significance of classical values. David had been a symbol of the classical era and artists in the Renaissance wanted to create works that glorified both him and the idea of the natural man in general.
It was probably David's legendary character that influenced artists to express particular interest in wanting to portray him. By looking at how each artist depicted him, one can understand the cultural elements that inspired these respective artists. All things considered, it would be safe to say that…
Crispino, Enrico. Michelangelo. (Giunti Editore, 2001)
Cunningham, Lawrence, Reich, John, & Fichner-Rathus, Lois. Culture and Values: A Survey of the Western Humanities, Volume 1.( Cengage Learning, 1 Jan 2014)
"3 Davids, 3 Theologies: Donatello, Michelangelo and Bernini," Retrieved July 6, 2014, from http://thefineartdiner.blogspot.ie/2011/06/3-davids-3-theologies-donatello.html
"David," Retrieved July 6, 2014, from http://www.artble.com/artists/donatello/sculpture/david
According to Henry a. Millon, the sparkling gaiety of this style "was cultivated by a new age associated with the regency that followed upon the death of Louis XIV and then with the reign of Louis XV," meaning that these two French kings and their opulent lifestyles highly influenced the art that came about during the beginning and middle years of the 18th century in Europe (156).
Essentially, the Rococo is an interior style or, in other words, pertains mostly to the decoration of objects designed for the interior of palaces and royal residencies. As compared to the art of the aroque Era, that of the Rococo style is far removed from religious and national influences. Architecturally, one of the best examples of the Rococo style can be found in the Rococo room of the Salon de la Princesse at the Hotel de Soubise in Paris, decorated by Germain offrand…
Millon, Henry a. Baroque and Rococo Architecture and Art. New York: Doubleday, 1975.
Tapie, Victor L. The Age of Grandeur: Baroque Art and Architecture. New York: Phadeon Books, 1966.
Beauty is in the eye of the beholder, as the old trope goes, and that phrase holds true even when encountering some of the world's "great" art, as I saw in the Boston Museum of Fine Arts. The Museum itself is massive. It holds more than 450,000 works of art and a recent expansion added 28% more space with an expansion of 133,000 square feet (Dwyer). ithin its walls there are naturally pieces of art that fall outside of specific people's taste. For me, there were three works of art in the museum that struck a chord -- two that I loved and one that I disliked intensely.
Unfortunately, the piece of art I liked the least in the museum is also one of the most prominent. The sculpture is a massive green glass sculpture by Dale Chihuly that sits in the entrance of the Boston MFA. The…
Barlow, Deborah. "Chihuly at the MFA." Slow Muse. 10 April, 2011. 8 June, 2011.
Benfrey, Christopher. "A Certain Slant of Light" Slate 13 November 1997. 8 June 2011.
"Dance at Bougival." 8 June, 2011.
Delmar, John D."Oskar Kokoschka: Early Portraits from Vienna and Berlin 1909-1914." The City Review. 2002. 8 June, 2011.
The bronze piece on the front is textured or hammered, too, adding another depth of pattern and texture to the work. There is not a lot of intricate detail on the piece, but for some reason it seems detailed, anyway, perhaps because of the size of the piece.
Because this is a three-dimensional work, there is a feeling of space and depth to the piece, too. In fact, the figure seems to be frozen in a moment in time, and commands the space around it. The bronze "shield" on the front in concave, and so gives additional depth and a three-dimensional quality to the piece, and so does the hole in one of the legs. This is not a massive sculpture, but it seems larger than it is because of the use of space and depth to create a fuller, more complete piece of art.
The artist definitely wanted to…
Danto, Arthur. "Joan Mir." Artchive.com. 2006. 14 Oct. 2006. http://www.artchive.com/artchive/M/miro.html
Mir, Joan. "Woman Addressing the Public: Project for a Monument." Kimball Art Museum. 2006. 14 Oct. 2006. http://www.kimbellart.org/database/index.cfm?detail=yes&ID=AP%201996.01
David / Rembrandt
Michelangelo's David was commissioned as a public monument by the government of Florence. In this context we might be invited to imagine David as a symbol of Florence itself: the Tuscan city is tiny compared with Rome, and in Michelangelo's lifetime Florence was also much smaller than the closer Italian city of Venice. Although Florence is the larger city in the twenty-first century, this was not true in Michelangelo's day. The population of Florence was estimated at 37,000 in 1427 and 60,000 in 1552: while Venice had a population of 180,000 in 1490. (Sources: John Najemy, A History of Florence 1200-1575; J.J. Norich, A History of Venice.) In other words, the idea of a physically-unprepossessing hero favored by God to defeat a much larger enemy -- the story of David and Goliath -- might very well have appealed to Florentines as a civic symbol of themselves. Florence…
He is one of the few artists that were recognized for his work while he was still living.
One of Michelangelo's most exquisite pieces is Pieta. In this sculpture, we can see how Michelangelo was moving away from the traditional form of sculpting. Creighton Gilbert notes that how Mary and Jesus are depicted in the statue is not typical of Michelangelo's day. Mary is seated with the dead Jesus in her lap and this image "first emerged as an abbreviation of the scene of Christ mourned" (160). Harold Keller maintains that the piece is filled with contrasts, horizontally and vertically. e also have the opposites of the clothed and the naked. The position of Jesus' body is different from most pietas of the day in that it is horizontal, producing a "step-like composition based on the sharp right able between the corpse and the upper body of the Madonna towering…
Barzun, Jacques. From Dawn to Decadence. New York: Harper Collins Publications. 2000.
Gilbert, Creighton. History of Renaissance Art. New York: Prentice-Hall, Inc. 1973.
Keller, Harold. The High Renaissance in Italy. NY: Harry N. Abrams, Inc. Publishers. 1969.
Lace, William. Michelangelo. San Diego: Lucent Books. 1993.
French omantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and oil. He was also skillful in lithography, a new graphic process popular with the omantics. His illustrations of a French edition of Goethe's "Faust" and Shakespeare's "Hamlet" still stand as the finest examples in that medium.
Delacroix' painting "Massacre at Chios" is precisely detailed, but the action is so violent and the composition so dynamic that the effect is very disturbing (Janson, 678). With great vividness of color and strong emotion he pictured an incident in which 20,000 Greeks were…
Art: A World History. New York: DK Publishing, 1997.
Eysteinsson, Astradur. The Concept of Modernism. Ithaca, NY: Cornell UP, 1992
Gardner, Helen. Art through the Ages. New York: Harcourt, Brace: 1959.
Hoving, Thomas. Art. Foster City, CA: IDG, 1999.
art is changed by the changes that occur in political culture. The writer presents examples and contrasts two of the following areas Baroque, ococo, Neoclassicism, and omanticism and argues the point of how the eras drive changes in artwork. In addition the writer devotes two pages to comparing three works of famous artists.
Art has always been influenced by the masses. Political culture, and change have been driving forces behind the changes in art that history has witnessed. When political and cultural changes occur it is generally because of changing attitudes of those who live in the era and drive those changes. This extrapolates to changes in many things including taste in artwork. Two periods in history provide classic examples of such change occurring and being directly related to political and cultural changes that were taking place in society during the time.
The Neoclassical period and the omantic era are…
http://www.oceansbridge.com/art/customer/product.php?productid=38385& cat=4037& page=19& maincat=M
Pierre Bonnard The Terrace
Vedder's "Memory" -- Remembering the last gasps of surrealistic romanticism in painting, before Hogue and Steichen's intrusions of surrealist realism
The painting entitled "Memory" by the American artist Elihu Vedder exhibits a dreamlike horizon and vista of an unidentifiable, yet distinctly foreign land in sunbathed romantic colors. Over Vedder's illustrated ocean the viewer can see face hanging, as if the individual's image were suspended in the overhanging clouds. It is a Romantic vision of the presence of the individual in nature. The memory of the artist or the gazer is present eternally in the natural world, so long as the artist is in the act of remembering an individual. In contrast, Alexander Hogue's "Erosions No. 2: Mother Earth Laid Bare" (1938) is also another medium-sized oil on canvas (40 x 56) but reflects the Great Depression when this work was created, long after the Romantic surrealism of "Memory." "Erosions No.…
"Elihu Vedder." The Columbia Encyclopedia, Sixth Edition. 2005. http://www.encyclopedia.com/html/V/Vedder-E1.asp
Hogue, Edward. Biography. 2005. http://www.artnet.com/magazine_pre2000/features/robinson/robinson4-23-7.asp 'Masters of Photography: Edward Steichen." 2005.
'Memory." Image. 2005. http://borghi.org/american/vedder1-7.html
DYNAMICS BETWEEN AT & TECHNOLOGY
Art & Technology
From the earliest moments of human history until the present and certainly into the future, the relationship between art and technology will be a dynamic one. Technology has directly impacted art forms such as architecture, photography, sculpture, and painting. Painting, sculpture, and architecture are much older art forms than photography, whose roots come from the latter portion of the 19th century. Nonetheless, each of these forms has changed technology and has been changed by technology. In numerous cases within each art form, technological developments in other industries, not related to art, influenced developments in each art respectively. The paper will discuss and consider connections between technology and art including culture and gender.
The great industrialization at the turn of the 20th century changed the world and every industry. The 20th century made possible the further development of existing industries and made possible…
Benjamin, W. (1935) The Work of Art in the Age of Mechanical Reproduction. Available from design.wishiewashie.com/HT5/WalterBenjaminTheWorkofArt.pdf. 2012 June 15.
National Endowment for the Arts. (2009) Audience 2.0 -- How Technology Influences Arts Participation. National Endowment for the Arts, Available from www.nea.gov/research/new-media-report/New-Media-Report.pdf. 2012 June 17.
Thakur, M.K. (2010) How technology influences arts and creativity. International Business Times, Available from http://www.ibtimes.com/articles/79404/20101107/digital-technology-art-dulwich-picture-gallery-iguides-iPod-touch-technology-austin-museum-of-digita.htm . 2012 June 16.
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…
The Gothic and Renaissance were tumultuous periods in terms of art and architecture. These were times of wild creativity and rapid development when it came to style and subject matter. Artists and architects used not only their own minds and current cultural milieu to create their works, but gained significant depth of expression by acknowledging the traditions of the past. These were used to mold new ideas and new ways of art in a way that was unprecedented at the time. Two examples of this kind of development are Nicola Pisano's marble pulpit of the Pisa Cathedral and Hieronymus osch's "The Last Judgment."
Description of Artifacts
Nicola Pisano's marble pulpit in the Pisa Cathedral is a remarkable work indeed. Supported by nine columns, the pulpit is shaped like an octagon and placed on semi-circular arches. Three of the columns are supported by marble lions. The main octagon contains…
Bio (2014). Hieronymus Bosch Biography. Retrieved from: http://www.biography.com/people/hieronymus-bosch-9220497#synopsis
Encyclopedia of Sculpture. (n.d.). Nicola Pisano (1206-78). Retrieved from: http://www.visual-arts-cork.com/sculpture/nicola-pisano.htm
Grabbing onto the hand of her partner, she make a sweeping gesture denoting dance and movement. The lines created by her arms allow the eye to move freely across the canvas. The right-hand dancer turns her torso around fully, and doing so she encourages us to gaze where she is, back at the center of the composition. Rhythm pervades Derain's piece because of his selection of dance as a subject, but also because of the use of curvilinear forms that keep the eye flowing. Moreover, colors repeat themselves enthusiastically, spread out across the canvas and avoiding stagnation.
At first glance, Edward Hooper's Early Sunday Morning exudes stillness and with its straight lines is nothing like Derain's Dance. The town is asleep, businesses closed for the day and not a person is in sight. Yet it is precisely the lack of people that makes Hooper's composition so compelling and full of…
Whitney collection, what qualities do the art works seem to have in common?
When you look at the Whitney collection from the year 2000, it is clear that that all of the artists are reflection of a sense of realism in the various works. As, they are taking everyday events and are depicting them in such a way, that they are giving the audience a sense of appreciation for what many people see regularly.
A good example of this can be seen by comparing the works of Doug Aitken with John Coplans. In the Doug Aitken's photograph, he is illustrating an everyday event by highlighting a single shopping cart sitting in a parking lot. As, everyone has: went home and Aitken is showing how this is part of everyday life in America. This is giving the viewer a sense of appreciation for the kinds of images that we see everyday,…
"Doug Aitken." Whitney Collection, 2011. Web. 23 Jun. 2011
"John Coplans." Whitney Collection, 2011. Web. 23 Jun. 2011.
"Whitney Collection." Whitney Collection, 2011. Web. 23 Jun. 2011
"Snakes are symbols of both death and fertility in many cultures" (No author). Therefore, it is highly significant that "Her head is made up of the joined heads of two snakes, and the skirt that she wears is made of snakes woven together" (No author). In keeping with the motif of the life that she is emblematic of, the breasts of this goddess are substantially enlarged to illustrate her role as nurturer. However, such effervescence is also tempered with death and its fearsome appearance and role within life, which is demonstrated in the statue by the "garment of human skin" (No author) Coatlicue wears as well as the eminent skull in her midsection. There is a definite aura of gruesomeness manifested by the statue, typified by the goddesses' necklace of hearts and hands, and the claws of her hands and feet (better to dig graves with) (No author), that is…
Encyclopedia Britannica. "Coatlicue." Encyclopedia Britannica Online. 2012. Web. http://www.britannica.com/EBchecked/topic/123205/Coatlicue
No author. "Coatlicue." Myths Encyclopedia. 2008. Web. http://inanna.virtualave.net/southamerican.html
Robles, Kathleen, del Castillo, Richard. "Coatlicue." Chicano Park Murals. No date. Web. http://www.chicanoparksandiego.com/murals/coatlicue.html
The Curators of the University of Missouri. "Nike of Samothrace." 2011. Web. http://maa.missouri.edu/objects/castgallery/castnikesamothrace.html
This was partly because there was wealth enough to patronize the arts, and partly because the Medicis made it fashionable to commission public and private works from local artists. For example, the architect Brunelleschi created buildings that were testaments to the ancient buildings of Rome and Greece, which he studied. He designed the dome of the cathedral in Florence with these classic buildings in mind, and changed architecture from the gaudy medieval cathedrals to a more stately and dignified portrayal of religious belief and utility. Michelangelo rose to prominence under patronage by the Medicis, and his classic statue "The Pieta" was commissioned by a French cardinal, who originally planned to use the piece as a memorial on his own tomb. This is quite common of art at the time; it was commissioned by the powerful and the wealthy for their own enjoyment, but began to be shared with everyone. Thus,…
Sometimes, a paintbrush is used to create great circles, squares, and triangles of color that do not look like anything that can be found in life. The exciting, dynamic, and vivid use of the paintbrush show the viewer an imaginary world from the mind of the artist that only paint can create in its use of color. Sometimes a paintbrush can be used to blend colors on the canvas, to show the viewer what life is like, such as the complex expression of a human being or a scene in nature. A brush, in combination with the right kind of paint for the fibers or texture of the brush can create a uniquely expressive, human and startling idea on the canvas.
The brush can be large, small, as fine as a needle, and made from artificial or natural bristles. It can be dipped in oil or used to splatter acrylics…
"Any brief definition of art would oversimplify the matter, but we can say that all the definitions offered over the centuries include some notion of human agency, whether through manual skills (as in the art of sailing or painting or photography), intellectual manipulation (as in the art of politics), or public or personal expression (as in the art of conversation). Recall that the word is etymologically related to artificial -- i.e., produced by human beings. Since this embraces many types of production that are not conventionally deemed to be art, perhaps a better term for them would be visual culture. This would explain why certain preindustrial cultures produce objects which Eurocentric interests characterize as art, even though the producing culture has no linguistic term to differentiate these objects from utilitarian artifacts. Having said that, we are still left with a class of objects, ideas and activities that are held…
Photography: Leibovitz, A. (n.d.). John Lennon and Yoko Ono. [Photograph, color]. Photo
Gallery, AmericanMasters, PBS. Retrieved from http://www.pbs.org/wnet/americanmasters/episodes/annie-leibovitz/photo-gallery/19/
Annie Leibovitz is famous for her celebrity portraits because of the unusual poses and backdrops she uses with her subjects. The portrait of John and Yoko is powerful. It is startling because John is nude astride a fully-clothed Yoko. John is kissing her tenderly, with his body curled around hers and his arms cradling her head. Yoko is completely passive. It seems Leibovitz captured the dynamics of the couple's relationship with this