http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5TnQkVnwqfw%3D%3D&userId=hzBAcTYl&zoomparams=&fs=true Gentileschi, Artemisia, “Judith and Holofernes,” Circa 1620 http://library.artstor.org/library/secure/ViewImages?id=8CNfeTkiJCxdLS04eDp2SngoWg%3D%3D&userId=hzBAcTYl&zoomparams=&fs=true O’Keeffe, Georgia, “Dark Abstraction,” 1924 “Representational, Abstract, and Non-Representational” Jonathan Christian (Cypress Group) The two paintings I have selected for the essay concerning representational, abstract, and non-representational art are “Judith and Holofernes” by Artemisia Gentileschi and “Dark Abstraction” by Georgia O’Keeffe. “Judith and Holofernes” is the exact opposite of “Dark Abstraction” in every sense of the word. The two are hardly comparable …show more content…
In stark contrast to the naturalistic, photorealism of “Judith and Holofernes,” O’Keeffe’s painting favors colors over humanity, and darkness over warm lighting. Not to say this takes away from the beauty portrayed in the piece; quite the opposite in fact. The portrait, similar to its title, provides an atmosphere of perplexing mystery and oppressive claustrophobia. While both works feature an underlying theme of horror, “Dark Abstraction” goes about relaying this emotion by employing a far subtler method. O’Keeffe’s painting is nightmarish due to the dreamlike logic featured within the canvas. It’s frightening in a way one cannot express easily. For example, when one awakens from a nightmare, any attempt to decipher the thoughts running through one’s mind and varied emotions enclosed in one’s chest is often met with failure. This is why “Dark Abstraction” perfectly accompanies “Judith and Holofernes”; Gentileschi’s painting is a narrative speaking to one’s eyes, while O’Keeffe’s painting speaks to one’s emotions. Both are equally memorable, however different they appear on first
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Frankenstein compares the compassion and goodness of Elizabeth to a light that disappears in the darkness.
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
It is said that this book is considered as one of the most famous horror novels, if not the most famous one. The Gothic descriptions in the novel are very prominent at the beginning. The portrayal of the countryside of Transylvania, of the ruined Dracula Castle, etc, all provide the effect of horror in the sense of spooky and gloomy atmosphere, which you can obtain close at hand. Everything is so obvious. The originally beautiful scenes are changed by the writer¡¯s magnification of some specific details which provide certain effect on the readers. All of the above reminds how one¡¯s personal feelings can alter their attitudes towards what they see or what they experience. Sometimes when you are sad, everything look so depressing. It is like the whole world is against you. The sunset could be a fantastic scene when you are filled with joy but an extra source of sorrow when you are not in the mood. Harker is separated from her lovely fianc¨¦e to meet some foreign count in the exotic and unknown eastern world.
In Gateways To Art, by Debra J. Dewitte there are easily over a hundred photos to choose from for an analysis paper. I chose Gentileschi, Judith Decapitating Holofernes. This painting was created in 1620 by Artemisia Gentileschi. I will describe the subject matter in the artwork, the composition in the artwork, and why I believe that the artwork is conceptual and perceptual.
Ekphrasis poetry can be written as either an exhibition of the sensational aspects of an artist’s life or as a act to explicate the artwork itself. Gehrke balances both options by opening the gaze of the audience to witness the life of the artist but also the process, aftermath, and desire to paint. Gehrke respects the creative process of the painters, but also gives voice to the torments of the artists, their subjects, themes of death, life and love. The book as an entire collection gages the immediacy of art and time, because life is but a fleeting glimpse of fractured memories and light. Moreover, the images presented in Gehrke’s collection are intertwined capturing the urgency to paint, the transcendence of the artist from their body, as painting is an out of body experience, but also maintains the humanity of the artist’s by examining the fascination of the human body, medical crises and emotional turmoil. Michelangelo’s Seizure by Steve Gehrke explores ekphrasis poetry through crisis, whether that be the medical ailments of the artists, or the psychological and emotional associations for the artist. The poems, specifically “Self-Portrait Monet” and “Late Self-Portrait Rembrandt” are presented through emotional terms, associated not only with the circumstances influencing each artist, but the internal crisis and life consuming desire to paint what they see, experience and felt, to echo back and remember things passed.
The two artists I have chosen to write about in my essay are Wassily Kandinsky and Roy de Maistre. Both of these men are artists who were greatly influenced by the relationship between colour and sound and are thought to have pioneered the complete abstraction of art in each of their respective areas; Kandinsky is celebrated as the first artist to ever produce a entirely abstract work, while de Maistre is known as the one of the first Australian artists to use pure abstraction in his artwork. (Nairn & Serle, 1981)
In eight quasi-connected stories, Susan Vreeland delivers a fictional lesson on aesthetics. Set amidst human sorrow and historic chaos, the narrative follows an imagined Vermeer painting from the present day through 330 years of its provenance--beginning with its willful destruction in the 1990s and concluding with its inspired creation in the 1660s:
The theme I have chosen for comparison is the female self-portraiture. The first piece is The Two Fridas by Frida Kahlo. She created this piece in 1939 during the Surrealism period and can be found currently at Museo de Arte Moderno (Museum of Modern Art) in Mexico City. It depicts two almost identical Fridas sitting on a bench, holding hands with exposed hearts. The second piece is Self Portrait by Judith Leyster and depicts Judith herself in the midst of painting one of her commonly known pieces of the Merry Company, to turn towards the viewer in an inviting way. This piece was created in 1630 during the Dutch Baroque period and can be currently found at the National Gallery of Art. The two women are showing two very different emotions, Frida
Reed, Peter. "The Artist." Journal of the Fantastic in the Arts. Florida Altantic University, 1999. Web. 03 Mar. 2014.
When the narrator finds the painting of her, he immensely admires the beauty and the elegance by seeing “The arms, the bosom, and even the ends of the radiant hair” that were vividly drawn. The elegance of the woman is further explained when the narrator reads the volume in which the paintings are discussed and explained. The first line of the volume explains the woman’s finest quality by saying that “she was a maiden of the rarest beauty” (“The Oval Portrait”). However, it is in this instance where there is an important shift in the story. The story shifts from explaining and admiring the beauty of the woman to elucidating her imminent death and decay. Subsequently, the narrator learns about how her life turned bitter when “she saw, and loved, and wedded the painter” (“The Oval Portrait”). Even though she loves the painter, she abhors and even despises his work because it “deprived her of the countenance of her lover” (“The Oval Portrait”). This idea of loneliness and neglect is further explained when the painter paints a painting of his wife. Even though he loved his wife and wanted make a masterpiece by working with
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
Often, art is used as an escape from reality for those who cannot deal with the harshness of it. For certain reasons, people find comfort things that aren’t real, things that can be found only in movies, books, or music. The effect that art can have on people’s reality can be positive or negative, but it distorts their perception of what is real and what isn’t no matter what. In Vladimir Nabokov’s novel Laughter in the Dark, Nabokov uses characterization, imagery, and irony in order to demonstrate the effect of art on reality.
"Quotations by Subject: Art." The Quotation Page. QuotationsPage.com and Michael Moncur. Web. 23 Feb. 2015. .