North Bay Teacher’s College is a watercolour painting done by Jack Lockhart. The piece is framed and hung on the wall in the A 207 hallway at Nipissing University. The artist was born in 1939 but there is no date associated with the painting. I chose this particular piece of art to critique because of the fact that I walk past it six times a week. The composition and its contents spoke to me, making me want to study it further. After all, North Bay is the city in which I grew up in and this painting contains some of North Bay’s history. The painting displays a building in downtown North Bay that originally opened in 1909 under the name ‘North Bay Normal School’. It was a school where individuals could become qualified teachers. In 1953, it
The painting I chose today is called ‘Fidelia and Speranza’, part of Putnam collection, by Benjamin West and was painted in 1776. The Fidelia and Speranza painting is Oil on canvas painting. ¬¬¬¬¬¬¬¬The current location of this painting is in the Timken Museum in San Diego, California. Benjamin West worked mainly in London, Roma, and Philadelphia. Benjamin was an American- British painter and was born in October 1738 and died in March of 1820; born in Pennsylvania but lived his entire life in England from the year of 1763. This painting has dimensions of about 54 by 43 inches. Fidelia and Speranza mean Faith and hope.
"Delta Arts Center | The Biggers Mural Project by John Biggers." Delta Arts Center. Winston
Kent Monkman is an artist of ‘Aboriginal and Irish descent’ (Filgiano) who was commissioned to create a large scale Acrylic on canvas, measuring 72” x 108”.“The Academy” is a parody piece which makes reference to art created in the European tradition, alongside Aboriginal art and artifacts. It hangs in the Museum Gallery alongside some of the very pieces that are featured within it. It’s as though Monkman is playfully gossiping about his neighbors in the Gallery, both figuratively and literally. While his work is significant enough to hang in the Gallery alongside these other masterworks, Monkman makes a tongue-in-cheek observation that Academy work has historically been regarded as the only legitimate Fine Art. Traditionally, Aboriginal Art and Artifacts have been confined to separate exhibits or ancillary displays, but never alongside classical European pieces. The piece makes reference to a vast...
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
This group was formed by American landscape painters who were present from 1825 to 1880. Their work constituted of interest in realistic illustration of nature and a fascination to celebrate precisely the American scenery. Until its emergence, most artists seemed more interested in making portraits than painting murals. Those who did landscapes generally always turned to Europe for guidance on subject matter and skills. Subjects similar to the other side of the Atlantic appear on their canvases mostly compared to American scenes, such as Norman castles, Greek and Roman ruins. In addition, much of the paintings done prior to the emanation of the Hudson River Schoolwereemblematic and therefore not necessarily intended to emblematize a real place. The school combines elements of romanticism and the art of Nationalism. Its Romantic nature provides an alternative framework through which to view and appreciate the nature in the world.
During my trip to the Art Gallery of Ontario, I found there to be one painting that surely stood out and made an unique impression on me, it was certainly a painting unlike the rest of the in the gallery. When my eyes met those of the portrait of Dr. Heinrich by Otto Dix, I was deeply intrigued and found myself to be drawn to the piece and inspecting it the longest out of the all the options of paintings that I saw at the AGO.
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
Though criticism has taken on a negative connotation in the English language, and artists can fear or reject it, criticism is not inherently bad. In fact, both Wharton and Carrol claim that positive and negative (constructive) criticisms are beneficial to the artist and their audience. According to Wharton, artists use professional criticism to see how others may perceive their work. By obtaining that secondary viewpoint, the artist can use the critic’s educated analysis to improve a specific work or their art in general (Wharton, 42). In addition, a critic’s interpretation of a work of art is perfect for determining how off-centered their intended outcome for the work is, and what to refine in order to convey their message clearer in the next iteration or masterpiece. Regarding the audience, Carrol supports by asserting that, “The common reader expects guidance from the critic concerning what is worthy in an artwork” (Carrol 14). As oftentimes the audien...
It’s quite fitting that the corresponding art of the chapter is painting. Like cinema, painting is also a striking form of visual art. In so many ways this chapter colors the perception of the world within the episode and paints a specific, emotional point of view. The vivid description of Sandymount Shore as well as the description of the three girls sitting on the rocks can be read like an illustration of an...
Jeffery Smart’s “The Turnoff at Dandenong” is a contemporary realistic painting that represents the influence of urban
The focus of the painting is a young woman, most likely in her late teens or early twenties. She works in the fields with her farming tool in hand and a bandana keeping her hair back. One can tell her is of modest means by her simple and somewhat ragged clothing and also by her lack of shoes. The girl is on her way to work, passing through a withered field on the outskirts of a small town, when she glances up to look at the lark singing its morning song. Although the lark is not portrayed in the painting, the deep gaze of the girl shows that she is mesmerized by this simple joy.
... though employing a familiar subject (the female form), shows the transformation from busy mosaics with gold embellishments to a brighter palate of colors and the use of stronger, bolder lines. The piece exemplifies his versatility as an artist.
Nino Waterhouse did not have a particularly strong urge to become a painter in his younger years, he was more interested in engineering. It is said that if he did want to look at art he would take advantage of the exhibits held at his leads school and take part in enriching services in London during the holidays. After his studies ended, Nino began helping his father with background painting for commissioned portraits. Shortly following this, between the years of 1868 and 1877, Nino’s name appeared in various museum registers. It is believed that at this time his love for painting began to emerge (Kerr 2000). On page 14 In Peter Trippi’s book titled John William Waterhouse, he notes that; “Nino’s earliest surviving sketchbook depicts classical statuary, armor and musical instruments, as well as...
A couple of times throughout my life I heard that art will speak to you even though it doesn’t talk. Not having a real knowledgeable understanding of art or being a big appreciator of it, Berthold Woltze’s ‘The Irritating Gentleman’ (1874) is an oil painting that depicts realism that really draws me into everything in the painting because of the attention to detail he put into it. This particular work is the first time that anything in the art category has made me feel a special way about it and it truly does speak to me.
John Berger notes that, ‘original paintings are silent and still in a sense that information never is’. This observation is not different in the case of Vincent Van Gogh's Cafe Terrace at Night (1888). While visiting a museum, I stumbled across this painting, one of Vincent Van Gogh’s great works. My next move was to engage with the painting, with the aim of understanding critical information in relation to its meaning, significance and importance in both the traditional and modern context (Whitney et al, 360). This is to ensure that we learn more about the eye-catching paintings hanging on the walls of museums. In addition, this approach is vital in understanding both the literal and hidden meaning of such a painting, as intended by the artist. The name of the picture speaks volumes in relation to its context and setting; it is a night scene. From a literal perspective, the picture shows a large establishment where people from the region can enjoy their coffee by night. On the other hand, the picture also focuses on the expression of an important meaning in accordance with the intention and the aim of the painter in its composition. For instance, Van Gogh focuses on expressing a beautiful event aided by the stars and the bright sky. In addition, the painting integrates bright colors to express a peaceful encounter during a bright night (Brower 200).