I decided to use Herman Lee for my artist comparison. The first piece that I saw of his was a series about Great Romans and they were portrait pieces. He has five pieces in this series that contain five different Roman people. They happen to be portraits of a person in vector/illustrative style. I decided to use this as a starting block for my piece. Instead of doing a leading figure in our today society as my portrait piece, I chose to do myself. Doing a portrait of yourself to me is harder to manage then doing a portrait of another person. Doing a portrait of yourself is hard to me because it involves figuring out what side of you, as a person, you want to be seen as or what you want to be seen as. You have to show a piece of who you are as a person and be quite vulnerable to the viewers, so I decided to go outside my comfort zone for this piece.
Herman Lee’s Great Romanians series intrigued me because all the portraits have a disperse use of vibrant colors in them, which is similar to my work. The vibrant colors allow for a sense of playfulness and randomness. They way he placed the colors gives a sense that he had fun while making them, as well as giving it a feel of having paint smeared onto the piece randomly, even though it is all done electronically. The piece is “is filled with colors of all sorts that are meant to turn heads (Osnat Tzadok: 2002-2010)” The portraits that he has done for this series are up close and only include the head, with the neck as well. Some other portraits that he has done also included the top portion of their clothes. Herman Lee does all his work on the computer and most of it is in vector/illustrator format.
Since I was going outside my comfort zone for this piece I wanted to display my...
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...h what the world is looking for. The only hard part about using someone, so new in this industry is that he doesn’t have a lot said about him, if anything at all. It is a shame that on his site he does not give any reasons or intent about his pieces. He just has the titles of his pieces and a lot of it is assuming what he means by what he is trying to imply. “By trying to decipher the painting in this way, I was doing what I suppose most people do when they look at art, seeking a narrative or at least enough clues to one that I could begin to assemble a story out of what I was seeing. With all art, from the representational to the abstract, one tends to look for correspondences to what one knows; even before learning the title (Michael Milburn: 2009),” which means that I was trying to “to find something recognizable in (Michael Milburn: 2009)” the Great Romanians.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
Each respective piece of art is no doubt a self portrait, but how each artist is represented in the two pieces is where the contrasting elements come into play. In Portrait
In four of Hawthorne's stories there is a struggle for power and control as a vehicle to obtain perfection or beauty. In "The Artist of the Beautiful", "Rappaccini's Daughter", "The Birthmark" and "The Prophetic Pictures" the characters are controlled by their desire for perfection in their creations, but they do not achieve their goals without sacrifice.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
Pollock (1980) begins her article by drawing in her audience in; asking how is it possible that art history does not incorporate any other field beyond the artist in order to explain the meaning behind their work. She then explains that her article is mainly about how she rejects how art historians are depicting artworks and restricting themselves in explaining the work solely based on the biography of the artist who created it. (Pollock, 1980, pg.58)
When I imagine an artist, I picture a Parisian dabbing at a sprawling masterpiece between drags on a cigarette seated in an extravagantly long holder. He stands amid a motley sea of color, great splashes of vermillion and ultramarine and yellow ochre hiding the tarp on the studio floor. Somehow, not one lonely drop of paint adorns his Italian leather shoes with their pointed toes like baguettes.
This marked the beginning of his inspiration to form a personal, expressive, and religious stance on his art values and style. He has found his process and content that will be apparent in his future work.
I absolutely love this piece of art. The amount of color keeps the painting alive and interesting. Its abstractness draws me in and interests me to look at it to find what I may see. One challenging thing about this piece of work is that I am not exactly sure what is going on in
While it's apparent that artists of the modern age owe much to the artists in the Renaissance, there are many differences between the two. There are some similarities however much of what the artist is expressing, and how they present their concepts are entirely different. Renaissance art appears to be more of a historic record, and heavily influenced by reason and mathematics. Modern art on the other hand tends to convey ideas, and emotions, leaving interpretation to the viewer, instead of being straight forward.
Regardless of taste, an appreciator of art should be able to recognize when an artist exerts a large amount of effort and expresses a great amount of creativity. Understanding the concepts incorporated by truly talented artists helps the viewer better understand art in general. Both Van Eyck and Velasquez are examples of artists that stood out in their time due to their unique vision and their innovative style, and are therefore remembered, recognized, and praised even centuries after their works were completed.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
Through time due to advancements in material and painting techniques combined with the ever-increasing talent of the artists, paintings representing people have become very lifelike and are extremely realistic. Some painted portraits have as much detail as modern photographs. However, there are also paintings of people that are representational in which the artist is trying to convey a message. This paper discusses the two types through the comparison of two paintings, Abaporu and Portrait of a Lady.
With the three sculptures drawn between Archaic Greek, Classical Greek, and Egyptian cultures, they can be observed and similarities and differences can be made. The Egyptian sculpture is different from the other two sculptures in that it is the only one that involves some clothing; the man is wearing a loincloth and the woman is wearing a straight dress. The other two sculptures are completely naked. There is a difference amongst the three sculptures in how they are positioned. The Egyptian sculpture is in a straight standing up position with clothes on. The Archaic Greek sculpture is in the same straight standing up position with no clothes on. The final sculpture from the Classical Greek culture is in a more free form while still
In my paper I chose Chuck Close to write about because his art is so extraordinary and creative that his art work is over whelming to me. The way he recreates his self portraits are phenomenal. It is as if you are actually looking at the portraits face to face but really you are not they are just great works of art. The art work I chose is Big Self Portrait which was created in 1968. The detail of the painting was down to the pores, wrinkles, the small facial hairs, the stray of his hair, and so much more. In Big Self Portrait, Chuck looks as if he was bored, depressed, and stressed. In his portrait he looks as if he is bored with life, has a look of depression, and is stressed. These feelings are revealed in the painting because he has a