As you walk into the Los Angeles County Museum of Arts (LACMA), the sheer amount of paintings to view can be overwhelming but each is a masterpiece of its own as you pass by each art frame by frame from all different time. Francois Boucher, one of the greatest artist in the 18th century, was born in Paris, France on 1703 and later died on May 30th 1770. A painting that stands out is the Monument to Mignard, a painting Francois Boucher created around 1735 using oil on canvas with the dimensions of 28 ½ x 22 5/8 in. (72.39 x 57.47 cm). The Monument to Mignard has a lot of visual elements as you take a closer look and with imagination; people can conjure up the content of this masterpiece. The artwork is very interesting as the painting is very detailed and have a strong sense of symbolism behind the center piece. The content of the Monument to Mignard can be looked at a grieving woman thinking about her husband on a platform of a monument. There is two cupids grieving to the left of the man and in front of the woman. One cupid sitting on the edge of the platform clutching a dead bird on its arm, symbolizing that there is death between the two lovers. The other cupid that is standing up crying holding its right hand against the side of the man, which symbolize that the man has passed away and not among the living. There is an angel looking down at the vicinity of the man, woman, and the two cupids. The angel himself could be the angel of death, which takes the dead to heaven. The painting takes place inside building that is probably around the roman era because of the perfect arches and their integration of the Greek Doric columns. There is a total of eight columns, four on each side that supports the arch in the upper middle par... ... middle of paper ... ...tion of the monument. The person can clearly see that the angel is looking directly down towards the man, in thus making the man as the implied shape of the Monument to Mignard painting. The Monument to Mignard by François Boucher is a great painting to admire because the contents and symbolism an individual can conjure. The painting is very detailed and will astonish some of how much more detail can be seen as one looks at it closer in person. Visiting the Los Angeles County Museum (LACMA) at first can be overwhelming because of the amount of art that is available but as one looks around, a painting or a piece of art will demand more attention just like the Monument to Mignard had demanded my attention. It is a painting definitely worth seeing when visiting the Los Angeles County Museum (LACMA) and a painting worth calling an excellent work of art, a masterpiece.
The painting clearly shows Mars and Venus being tied together by a cupid. So I can see why this is the most popular translation of this painting. My personal response was really strong after seeing the painting for the first time. As soon as I saw this painting I knew that it had a deeper meaning to it; and not just some people being tied together by a cupid. I knew right away that it had to do with Roman mythology just from the names. After looking at this painting for a while there is still something that the artist is trying to portray, that is really tough. It feels like there is more going on than what seems. The painting has such a calm tone to it but it gives a little hint of roughness with the sword and the horse, which I think, helps to balance this painting.
I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
...is the focal point with the orthogonal of the gestures of the apostles lining up towards it. Masaccio makes good use of chiaroscuro, since his figures have soft, round edges and their bodies are apparent under their drapery. The drapery shows creases and edges which allow for that to happen. Masaccio also employs directed lighting in which the sun comes from the right and all the figures’ shadows are to the left, which is what would happen in real life. Furthermore, Masaccio uses soft, subdued colors, such as green, blue, and pink. The mood of Massacio’s painting is static with all the figures standing in contrapposto with their one knee sticking out and the individuals in Classical and naturalistic proportions. Masaccio placed his scene in the recognizable Arno Valley. Also, Masaccio’s story has no disguised symbolism and rather depicts a straightforward story.
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
The painting is an epic to the daily life of a church at the start of the Renaissance. The painting is done for a little girl who is in the foreground. The sole purpose of the painting is the eagerness and excitement of the future. The people are active in bright clothes. The colors used are bright showing hope for the future. The people in the painting add to the delightful optimism. The forms are delineated like the columns. Apparent details above the columns, retreating into the background. The masses have space and mass. Every stone is perfectly in place. There is a peculiar darkness across the painting that
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
Paul Cezanne’s artwork can be found in various museums and galleries around the United States. The Artist Father, Reading “L’Evenment” (1866) is available to be seen at the National Gallery of Art in Washington D.C. Two portraits, Uncle Dominique (1886) and Man with a Straw Hat (1870) are displayed at the Metropolitan Museum of Art in New York City. In California you can find his artwork at the J. Paul Getty Museum in Los Angeles, (Portrait of Antony Valabregue, 1866) and at the Norton Simon Museum in Pasadena, (Farm and Chestnut Trees at Jas de Bouffan, 1844).
In conclusion, through the exploration with Malraux’s lens, as one of the painting themes made in Northern Renaissance, Italian in specific, around fifteenth century, The Lamentation with Saints and a Donor portrays a common subject of art caused by Christian influence, which narrates popular biblical stories, and made intentionally as either a story of the Christ or the patron him/herself through his/her fictionalized depiction with the Christ, while, contrasting to Malraux’s excerpt, the aesthetic values are equal as one of the aims in art with the realistic development throughout
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
This sculpture seems to epitomize the ideal male human form. All of the body parts seem perfectly proportioned and the muscles are beautifully defined as if the image were of an athlete. The image is youthful with a calm demeanor. The right missing forearm looks as if it used to be resting at his side, while the left elbow was probably at a 90 degree angle, with the hand holding something. The slight bend in the left leg gives the impression of movement, as if the image was frozen while walking. The counterpoised stance adds an air of nobility to the "man".
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
The piece was built around the love story of Cupid and Psyche and the moment when love overpowered everything, even death. In the sculpture, Canova captures two sides of love; its incredible strength and its fragility and tenderness. The power of love is displayed through the base, the position of the couple, and the body language of the figures. The base of the sculpture is a rock, a solid, unbreakable form. The couple, placed on the rock, is positioned in a pyramid, one of the sturdiest structures. Psyche’s figure appears to be weak, but Cupid, though he has no defined muscles, has an athletic build. Theirs arms are an excellent example of strength as they surround each other in a firm embrace. Cupid’s arms hold the majority of Psyche’s weight as he pulls her toward his body and Psyche’s arms are firm as she wraps them around Cupid’s head. The strength of love in this sculpture is not found in the visible fitness of the couple, but in their actions. Cupid exhibits something similar to hysterical strength, which is the strength that occurs when someone is in a life or death situation. In this case, Psyche is facing death. This strength that Cupid experiences can be seen in the way the muscles in his legs are bulging forth and his feet are digging into the stone beneath him. This strength is followed by an unforgettable tenderness. The fragility and tenderness in the statue is seen most prominently in the couple’s hands. Within