This paper references the following works: Olympia. Edouard Manet. 1863. Oil on canvas. H. 130; W. 190 cm. Paris, Musée d'Orsay Self Portrait. Rembrandt. 1660. Oil on canvas. 31.61 x 26.5 cm. Metropolitan Museum of Art, New York. Self Portrait Dedicated to Paul Gaugin. Vincent van Gogh. 1888. Oil on canvas. 60.5 x 49.4 cm. Fogg Art Museum, Harvard University Pieta. Anabale Carricci. 1600. Oil on canvas. 149 x 156 cm. Museo Nazionale di Capodimonte, Naples, Italy. Woman with Dead Child. Kathe Kollowitz. 1903. Etching. 39 x 48 cm. To the casual viewer, Modern art is often shocking, amusing, indecipherable and unnerving because art has always been understood in terms of traditional representation. However at the turn of the nineteenth century, European artists began to rebel against the institution of classical art. To gain success as an artist in Europe up until this time, acceptance by the Royal Academies of Art was essential (Rosenfeld 2000). The approved style was that of classical antiquity depicting idealised historical, mythological and religious scenes and because the Academies controlled official patronage for artists, they set the rules for standards of “beauty” in art (Rosenfeld 2000). However with the rise of modernity in the late nineteenth and early twentieth century, art theory evolved. Modernity in this period was characterised by rapid growth of industry and technology in the city, which meant substantial social and economic innovation across Europe. Feelings of anxiety and instability accompanied this rapid transformation (Sturken and Cartwright 2009, 449) and lead to a self-conscious awareness within artists and consumers alike. So strongly were the changes felt that artists began reinterpreting traditional subject matter to reflect this new modern age. Ultimately, Modern artists sought truth over beauty, a concept which encompassed both the physicality of painting as a medium as well as the artist’s sense of self in an endeavour to create “pure” art (Greenberg). Academic art strove to overcome the limitations of painting as a medium; surface flatness, canvas structure and properties of paint pigment (Kleiner 2009, 822), to create illusions of space and aesthetics. Modern artists reacted by emphasising the same properties to communicate original insights and observations. However, the popular notion that Modernism was a... ... middle of paper ... ...3857?accountid=10382 (accessed Feb 4, 2015) Figure 2. Olympia. Edouard Manet. 1863. Oil on canvas. H. 130; W. 190 cm. Paris, Musée d'Orsay offered to the French State by public subscription initiated by Claude Monet, 1890© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski. Reproduced from http://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/olympia_a.html (accessed Feb 4, 2015). Figure 3. Self Portrait. Rembrandt. 1660. Oil on canvas. 31.61 x 26.5 cm. Metropolitan Museum of Art, New York. http://totallyhistory.com/self-portrait-altman/ (accessed Feb 4, 2015) Figure 4. Self Portrait Dedicated to Paul Gaugin. Vincent van Gogh. 1888. Oil on canvas. 60.5 x 49.4 cm. Fogg Art Museum, Harvard University, Cambridge, MA. http://www.ibiblio.org/wm/paint/auth/gogh/self/gogh.self-gauguin.jpg (accessed Feb 4, 2015) Figure 5. Pieta. Anabale Carricci. 1600. Oil on canvas. 149 x 156 cm. Museo Nazionale di Capodimonte, Naples, Italy. http://www.wikipaintings.org/en/annibale-carracci/pieta-1600 (accessed Feb 4, 2015) Figure 6. Woman with Dead Child. Kathe Kollowitz. 1903. Etching. 39 x 48 cm. oj0 http://hammer.ucla.edu/programs/detail/program_id/204 (accessed Feb 4, 2015)
3 & 4. 27 B.C – A.D 68 by unknown artist, but restored by Pacetti Vincenzo
Third Impressionist exhibition in Paris, held in 1877. Currently displayed in the Art Institute of
Goldner, George R., Lee Hendrix, Gloria Williams Sander, N. J. L. Turner, and Carol Plazzotta. "Andrea Schiavone." In European drawings: catalogue of the collections. Malibu, Calif.: J. Paul Getty Museum, 1988. 114.
My second piece that I choose was Vincent van Gogh’s, Olive Trees made of oil on canvas in 1889. I have always loved this piece so this was an easy piece to choose. When looking up the dimensions of the piece it was hard to find. There are fifteen different canvases of this series, so it told me all of them. To make a rough estimate I would say it is about 4 feet high and 3 feet width wise.
Vinci, Lenardo Da. Portrait of Isabella d'Este. Paris, France, Louvre, 1499. Charcoal drawing on paper.
Shell, C. “The early style of Fra Filippo Lippi and the Prato master”, The art Bulletin, vol.43,no.3,(sep.1961)
Morley, Brian. "The Illustrations of Leonardo Da Vinci." Burlington Magazine 121.918 (979): 553-562. Web. 26 May 2010.
1420. Tempera on wood, gold ground, 25 1/8 x 19 in. (63.8 x 48.3 cm). Metropolitan Museum of Art, New York.
Portrait of a woman of the Flavian period, marble, c. AD 90. Rome, Capitoline Museums, Palazzo Nuovo, Hall of the Emperors. Life size. Approx 25 inches.
Stokstad, M., Michael, W. and Asher, M. F. (2010). Art History, Volume 1. California: Prentice
9. Bouguereau, William A. Psyche et L'Amour. 1889. Private Collection. Art In the Picture. 2014. 25 Jan. 2014 .
The first painting to catch my eye was the Virgin and Child with Saint Anne, which was painted by Albrecht Durer around 1519. The German artist lived from 1471 to 1528 and is considered by many the greatest German Renaissance artist of them all. Albrecht Durer used an oil medium on a wooden support to create this wonderful piece of art. The painting is a very realistic portrait of two women and a child depicting people in history. It is a portrait of Saint Anne with her daughter, the Virgin Mary, and the Christ Child.
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
There are a number of artists involved in this field who used their works to pass specific information such as Leonardo da Vinci. The other acknowledged artist is Michelangelo Buonarroti; an Italian artist renowned for his famous fine pieces of arts. The Pieta piece of art is among some of the works that were sculptured by this particular artist. The name is an Italian word that means pity or compassion. With regards to this work this paper will through research provide its details with regards to more information about it, the artist, history as well as its background.
Stokstad, Marilyn. Art History. New York: Prentice Hall Inc. and Harry N. Abrams Inc. 1995.