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Formal analysis on an art piece
Formal analysis on an art piece
Art analysis
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A piece of art is analyzed by the viewer which is presented at the Museum of Fine Arts in Houston Texas. This particular piece is displayed in the Al-Sabah Collection, Kuwait. The item number is Inv. no. LNS 106 MS. The title provided by the museum informs the viewer that, this is a 17th century album page from Mughal dominions, India; which is made with Ink, colors, and gold on a paper. The painter used these materials and the overall theme of the art work to convey the message to the viewer that, the Mughals king is braver, powerful, and wealthy. In this painting a Mughal king or prince is hunting lions in the wild with his men. To show the importance of the scene, the painter put three rectangular borders around the artwork. Each border is of different size, color, and texture.
As the painting is viewed from the outside a large rectangular border is shown. This border appears to be a page from the album. It is light gold and light brown in color, and it is outlined with a solid gold outline on both ends. On the inside, it is imprinted with rows of small gold plants, each one with a six petal flower, two leafs, and a shot stem. These rows of flowers are shown from a top side view which is consistent with the theme of the painting. These rows of flowers run from top to bottom and side to side. The plants made with gold represent the wealth of Mughal kings. Inside of this border is a second border.
The second border is the second largest border in size, and it is outlined with a solid white line. It is white, green, and gold in color. It is decorated with gold flowers and gold leafs on top of a green background, which runs through the border in a symmetrically continuous fashion. These gold flowers and leafs provide contrast,...
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...inter made the king figure obvious to the viewer by drawing him with different color armor, horse, and a more decorated turban.
The artist used the colors and materials to make the painting look flawless. The gold used in the painting shines upon lights reflection. The dark green border compliments the dark green cloth used only in decorating the king’s horse.
The artist used the materials and the overall theme of the art work to convey the message that, the Mughal king is braver, powerful, and wealthy. In particular, the use of gold by the artist, to draw the borders, the king’s turban, and the king’s armor, is to draw attention toward the king’s wealth. The artist depicted the slaying of a lion by king in the wild, is to show his bravery. The use of elephant, horses, and men power by the artist in the painting is to illustrate to the viewer the power of the king.
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
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.
I visited the Oriental Institute of Chicago Museum, which contains various artifacts, I choose a Model Hippopotamus from Egypt. The hippopotamus is dated to Egypt’s Middle Kingdom, circa 1878 BC. According to wall text at the Oriental Institute of Chicago, hippopotamuses in Egyptian culture represented the enemies of the ruler. I was attracted to the Model Hippopotamus based on its size/shape, lines, texture, and the color.
The Warka Vase is a uniquely large piece that was laboriously built, and carefully decorated. The images on the Warka Vase are significant and have iconographic meanings unique to the Uruk people and the cult of Inana. The images reference common practices in cuneiform and iconography of the time and place the Warka Vase was made and can be cross compared with other pieces from the time to understand the symbolism of this brilliant piece of art. To understand who is in the images, what they are doing and how they relate to one another may bring unique insight to the practices of the cult of Inana.
The plaque under consideration, is of a forward facing man, with an aquiline nose, thin lips, neatly trimmed beard, wearing a sun hat with flaps and looking intently at the viewer. He is dressed in a typical 16th century Portuguese style, wearing a decorated tunic with padded shoulders and tight breeches with short boots. He has a business like manner, carrying in his right hand a brass manilla, the main item of exchange with Benin, and a walking cane in the other. It is significant that he is not armed, clearly indicating he is safe in foreign surroundings. The background is pleasingly stylised with clusters of petals set against a stippled ground imbuing a secure feeling.
The artwork uses the mediums of watercolour, gouache, pencil and ink on three large pieces of paper. The main colours of the composition consist of yellow ochre and raw umber, giving the artwork an overall pale yet sinister tone. The foreground is quite busy with your eye being directed in a diagonally linear fashion from the bottom right corner to the top left corner through the direction of the tiger’s bo...
The first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
In the following essay, I will be comparing and contrasting to architectural pieces by the Indians. The first is the Taj Mahal, a building constructed from white marble that took seventeen years to build in honor of Shah Jahan’s wife, Mumtaz Mahal (Z. Haq). This piece of architectural beauty belonged to the Mughal’s, the Muslim emperors in India (Z. Haq). The second is the Great Stupa at Sanchi, a holy, dome shaped structure that covers the body of the Buddha in honor of him and his contributions to Buddhism (Fischer, Julia). Furthermore, this structure was made of ruins, rocks, mud, and covered in bricks (Fischer, Julia). Both pieces of architecture are significant to the Indians, however they do contrast in some ways.
Across cultures, continents, and worlds, the majority of things within the scope of our very own humanity can be boiled down to two things: those who are dominant, and those who get dominated. Within these statuses lie stories of power struggles, rebellion, the rising and falling of those with influence, and the interconnection between a being with power and the people under his ruling. Through the visual works catered to this subject, we will discuss themes such as the power of immortalization, divinity amongst humans, what it really means to be a ruler, and many other details making up the ever-present, multifaceted relationship between rulers and their subject. With the assistance of the Blanton Museum of Art, I will be able to showcase
Both artworks `Fly whisk with leopard holding an antelope in jaws and the Helmet Mask (sowei)’ were created in direct responds to the African heritage. They both signifies respect which are used differently to both genders. The `fly whisk with leopard holding an antelope in jaws’ commands respect to the male gender, while the `Helmet Mask’ is an African masquerade wore by only women.
There exist three basic components of traditional Islamic art: calligraphy, geometric patterns, and floral and vegetal motifs. These three stylistic tools are beautifully rendered and masterfully integrated into complex works of art, but there is no question that artistic expression is severely limited under these categorizations. However, this limitation stems from Islamic theology and concept of art. The main reason for the limitation imposed on visual art is the Islamic theological prohibition of figural imagery. Social laws presented in the Hadith prevented the representation of figures because any imitation was deemed idolatrous. Also, art is considered to be decorative and imitative. Script and patterns are used to decorate objects, whether they be architectural structures, prayer rugs, ceramics, and books. The geometric objects naturally led to artistic patterning and repetition. Although the Islamic community prohibited figural imagery, the community’s rapid expansion during the centuries after its inception diluted the rigidity of traditional customs. Assimilated countries and cultures that practiced figural art before the Islamic armies came continued to do so. These assimilated artistic styles did utilize figural imagery, yet they still reflected the traditional artistic components of Islam. The introductory plaque at the entrance of the Islamic Art collection at the Metropolitan Museum of Art states that Islamic art is characterized by ‘stasis,’ and that even assimilated foreign styles have “always retained its intrinsic quality and unique identity.” The beautifully rendered book miniatures of the Shahnama of Shah Tahmasp illustrate this last point wonderfully. The Shahnama, translated as “The Book of Kings,” is an Iranian national epic penned by the poet Firdausi between 975-1010 AD. Centuries later, it became the custom for shahs to have their own personal copy of the Shahnama. This naturally transformed the quality of the book into measurement of status. The second shah of the Safavid dynasty, Tahmasp, was a great patron of the arts. Not only did he have his copy ornamented with gold, silver, rich colors, and exquisite calligraphy, he employed the most distinguished artists of the time to paint the two-hundred-and fifty-eight inked figural miniature paintings that accompany each page of text. Although all the miniatures are of similar style,...
When I first looked at the picture, it looked like there were only two colors green and blue. When I got closer to the picture I noticed there were many other colors used. I loved the way the colors were mixed into each other where you have to really look at the picture to see the colors. The other colors, other then green and blue, were pink, white, orange, red, and yellow. There were also different shades of green and blue. There was only one solid color in the picture; it was black.