The piece of artwork that American sculptor, Alexander Calder, has created is considered kinetic art. More specifically, this untitled piece is a mobile which relies on the surrounding air to move. Calder designed this kinetic sculpture in the most intricate way in order to achieve perfect balance of the massive aluminum and steel components. This kinetic sculpture directly relates to a mechanical engineering technology (MET) major. The primary MET courses this sculpture correlates to are Applied Statics, Applied Strength of Materials, and lastly Materials & Processes.
Applied statics is the study of ways of calculating forces between adjoining bodies. Forces are responsible for sustaining balance and causing motion of objects. In this course we began the use of free body diagrams which assisted in representing the different forces on a structure in a simplified way. Cadlder, I am sure, used many different diagrams and preliminary drawings and designs that showed the different forces on the massive structure. This course also included much discussion involving the equilibr...
“A hidden weight seemed to attach itself to simple objects—a teacup, a doorknob, a glass—hardly noticeable at first, beyond the sense that every move required a slightly greater exertion of energy”(187). In Nicole Krauss’ short story, “The Young Painters”, Krauss brings across the idea of guilt swallowing the narrator because of her decision to steal a frightening story told to her by a dancer and recreate the story and publish it as her own work. In the first scene, the author encounters a captivating painter in the dancer’s home which she later discovers has a intense backstory. She later publishes the story as her own but adds a happy twist to deemphasize the horror of the original story. In the second scene, after an odd encounter with
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
Visually, both Wassily Kandinsky’s Composition VII and Jackson Pollock’s No. 2 constitute a chaotic arrangement of colors and images with no apparent relation to one another. The randomly scattered paint, large canvas, and over-clamped figures all build a similar visual chaos in both paintings. Despite the mayhem, the two paintings differ in the inner emotions each artist wanted to express and the nature of the “chaos.” While for Kandinsky the chaos represents the smooth and melodic sentiments raised by music, for Pollock the chaos depicts the more spontaneous and impulsive emotions. The authors’ differing goals lead Kandinsky to ponder and refine his painting to capture a more universal theme and Pollock to develop his “drip” painting method
Now is the time in this period of changes and revolution to use a revolutionary manner of painting and not to paint like before. - Pablo Picasso, 1935. (Barnes)
The broadway hit play Hamilton, written by Lin Manuel Miranda, is viewed as an educational play about Alexander Hamilton, one of the United States’ founding fathers and the first Secretary of the Treasury. The play captures the spirit of Alexander Hamilton’s ambition, eloquence, and mistakes in a revolutionary format-as revolutionary as Hamilton himself! Combining rap, musical theater, and history, Hamilton is an enthralling and entertaining play that is mostly accurate to the real Alexander Hamilton. The details of Hamilton’s life and relationships that were misrepresented in the play to achieve the theatrical flair.
The art piece chosen for analyzing in this essay is from Claude Monet, The Windmill on the Onbekende Gracht Amsterdam oil on canvas painting from 1874. Claude Monet was born on November 14 in 1840 in Paris, French, and he death on December 5 in 1926 in Giverny, France. He was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement 's philosophy of expressing one 's perceptions before nature, especially as applied to plain air landscape painting. According with the information next to the painting in the museum of art in Houston “on one of his visits to Holland, Monet was intrigued by this charming windmill situated on the small “unknown quayside” in Amsterdam. The mill, built in 1656, produced textile dyes and was demolished in 1876.
For my analytical essay I've chosen the Renaissance art movement. I choose this movement because it played such a monumental part in European history. Basically, the Renaissance, also known as the rebirth, was a cultural movement that started an artistic transformation and started the scientific revolution. This time period also links the transition from the end of the Middle Ages to the beginning of the Modern Age. The Renaissance started in Italy in the 14th century and spread to northern Europe by the 16th century.
The past history have a huge impact on the future. From the ancient art history until current years it is safe to say that the art changed drastically, it shows that people nowadays have different values, styles and priorities in life. The past teaches people about the future and helps to avoid mistakes. In the Paleolithic period, where folks were focusing on hunting and gathering, where everyday life was dynamic, meaning they were moving from one place to another in search of better resources (Upper Paleolithic, 28) to Mesopotamian period where things were more certain and people liked to stay in one place. Paleolithic period did not consist of writing which is the main reason people can only guess and interpret the culture based on their own guesses what was the society like back then.
Cultural and political changes such as the spread of Marxism, the rise of psychoanalytical ideas, and the growth of media in the face of technological advancement prompted many artists to reassess notions of art (Farthing). Rejecting the idea that art must realistically depict the word, many artists started to explore abstract ideas such as symbolism and focused more on the representation of emotions or personal subjects they had direct experience or interest in (MoMA). Modernist sculpture cannot be identified by one defining characteristic, rather it encompasses different art movements and represents a pivotal moment for sculptors to investigate different materials, methods of construction and formal elements of sculpture such as form, space and mass. Constantin Brancusi played a major role in developing modernist sculpture, after rejecting Rodin’s naturalism. Brancusi tried to capture the essence of the subject by distilling them down to their most refined and simplified forms. For example, he used a section of the body to represent its entirety, often focusing on the head as he felt that was the most expressive component of a human being. He also emphasized a commitment to the material’s natural properties, using a direct carving
The Romanticism the nineteenth century is often called “The Romantic era.” The “Romanticism” defines a movement in the history of culture, an artistic style, attitude of mind and it describes the aesthetic, antique artworks of history. The Romanticism era was before the modernism era, during this time, many artists show their talents to the world. Romanticism is easy to understand, and it provides a lot of information of that era. The Romantic movement is uprising against academic convention and freedom of personal.political, and artistic life. John Constable, The Haywain, 1821, Francisco Goya, The Third of May, 1808: The Execution of the Defenders of Madrid 1814, and The John Nash, the Royal Pavilion, Brighton, the Northeast, 1815-1821 are the passionate and incredible artworks in the masterpiece of Romanticism, Realism, and the Nineteenth- Century World. This era was an artistic and creative era of the art history.
Pablo Picasso was one of the most recognized and popular artist of all time. In Pablo’s paintings and other works of art, he would paint what he was passionate about and you can see his emotions take control throughout his paintings and other works of art. Pablo Picasso works of art include not only paintings but also prints, bronze sculptures, drawings, and ceramics. Picasso was one of the inventors of cubism. ” Les Demoiselles d'Avignon” is one of Picasso famous paintings; this is also one of Pablo’s first pieces of cubism. Picasso went through different phases in his paintings; the blue period, rose period, black period, and cubism. Picasso was a born talented artist, with his dad setting the foundation; Picasso became the famous artist of the twentieth century.
My understanding of action painting coming into this class was nonexistent. I had heard the name Jackson Pollock before and had seen some of his different paintings, but I hadn’t heard the term ‘action painting’ before. It wasn’t until this last week that we reached the portion in the book that even mentions Jackson Pollock or action painting. Despite how new the term is to me, and how little I had really looked at any of Pollock’s work, it’s honestly a fascinating style of art.
Pierre-Auguste Renoir, a famous Impressionist painter, once said that a “…work of art must seize upon you, wrap you up in itself, and carry you away…”(Kleiner). It 's the late 19th century and all of France is stirring due to the chaotic transformations caused by the Industrial Revolution (Kleiner). France became the central place for radical thinking and innovation of not only machinery, but also of thought and creation. The atmosphere of art and the culture shifted away from religion during the revolution and focused on science and personal thought, almost a glance back at humanism. This shift in focus supported new ideologies, such as Marxism and Darwinism, and encouraged the new painting style called Impressionism.
James Joyce in his novel “A Portrait of the Artist as a Young Man” says “The object of the artist is the creation of the beautiful.” (134) For Stephen Dedalus after the reoccuring stream of consciousness throughout his youth, one of the factors of his creation into the artist is women. Indeed it is the women throughout the novel that shape Stephen into the man he finds himself becoming toward the end. Six women in particular that form specific functions in Stephens life are: Stephen’s mother, Eileen, Mercedes, the Virgin Mary, the prostitute, the birdlike woman by the water. These women affect and shape his character by loving him, inspiring him, and fascinating him.
In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.