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American impressionism
Mary hood how far she went pdf
Mary hood how far she went pdf
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Recommended: American impressionism
Surrounded by paintings. Surrounded by color. My eyes traveled from painting to painting, taking me to new places. Finally, I landed at home. Titanium white spread on with a palette knife, with burst of colors painted with a dry brush. I was drawn to Autumn Lilies like a magnet to metal. I saw myself taking the brush from Mary G. L. Hood. I saw myself painting this painting.
In 1886 Mary Gibbons Lawson Hood was born in Honey Brook, Pennsylvania, on August 30 to William Gibbons and Agnes Gaston Lawson (Philadelphia Modernism 38). In 1907 Mary married Albert L. Hood on March 2 at her parents’ home (Philadelphia Modernism 38). “Mary G. L. Hood attended The Pennsylvania Academy of Fine Arts directly out of high school in 1903, but curtailed her studies to marry and raise her four children” (Tow). “Her second experience at the Academy began in 1929 when her eldest child, Agnes graduated from Swarthmore College” (Tow). Dissatisfied with the Academy’s conservative climate, Mary Hood left after a year to study with Henry McCarter and then Arthur B. Carles whose teachings encouraged an individual expression of ideas and emotions with vigorous color and abstraction (Tow). “During the summers of 1937 and 1938, she also studied with Charles W. Ward whose modernist landscapes of Bucks County would exert a strong influence in their landscapes” (Tow). “Mary Hood and Agnes Hood Miller were given a dual “Mother and Daughter” exhibition at the Philadelphia Art Alliance in December of 1941, their last exhibition in Philadelphia until now” (Tow). Later that year, Mary G. L. Hood and her family purchased a farm in Springdale, near New Hope (Philadelphia Modernism 41). “There, Hood worked in her studio every afternoon painting the beautiful flo...
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...y G. L. Hood’s life, I came to find that our connections ran deep. “Hood wrote that she had been ‘especially fond of art’ since childhood” (Wolanin 15). Like Hood I too have been interested in art since childhood. Since the age of eight I have been creating my own signature style — exploring colors and brush strokes. Hood is an inspiration to me, although she started off so young, her paintings ended up in a museum. Hood’s story has taught me that I can succeed in anything that I have a passion for.
Works Cited
Hood, Mary G. L. . Autumn Lilies. 1994. Oil on canvas. Woodmere Art Museum, Philadelphia.
Tow, Hidly. Message to Suzie Heiczinger. 27 September 2011. E-mail.
Wolanin, Barbara A.. Dykstra, Gretchen, ed. Mary G. L. Hood and Philadelphia Modernism. n.p.: Woodmere Art Museum, 2011. Print.
Tuele, Nicholas. British Columbia women artists, 1885-1985: an exhibition. Victoria, B.C., Canada: Art Gallery of Greater Victoria, 1985. Print.
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
The October Gallery. (2000, May 19). About the Artist [Online]. Available: http://www.octobergallery.com/sbarnes.htm [2001, March 19].
..., 1820-1865. Columbia Studies in American Culture Series (New York: Columbia University Press, 1942): 13-14.
Tompkins, Jane. Sensational Designs: The Cultural Work of American Fiction 1790- 1860. New York: Oxford University Press, 1985.
Faith Ringgold was born in Harlem on October 8th 1930, the great depression had just ended and although she lived in the north, racism was still going on all throughout the country. As a young child, Ringgold was often bed ridden because of harsh asthma and during this time she often would draw. In 1950 she got her own studio and started working on oil painting projects. By 1962 she had gotten her MA in Art at the City College of New York, had two daughters and had been divorced and remarried. Ringgold was greatly influenced by a family who loved storytelling and learned from her mother’s stories about the ancestry of the slaves. Ringgold was both an artist as well as a teacher of art within the New York City public schools and a professor at the University of California, San Diego. Throughout her lifetime and time of her paintings, the civil rights movement was in full force.
In order to add something to their lives, [black families] decorated their tenements and their homes in all of these colors. I've been asked, is anyone in my family artistically inclined? I've always felt ashamed of my response and I always said no, not realizing that my artistic sensibility came from this ambiance.... It's only in retrospect that I realized I was surrounded by art. You'd walk Seventh Avenue and took in the windows and you'd see all these colors in the depths of the depression. All these colors.
West 31st Street, NY: Chelsea House, 2009. Print. Fitzpatrick, Virginia. Art history: a contextual inquiry course.
Jackson, P. (1992). (in)Forming the Visual: (re)Presenting Women of African Descent. International Review of African American Art. 14 (3), 31-7.
..., where his paintings grew even more popular due to their religious themes. His study in drawing and painting became beneficial to becoming friends with a renowned mentor, Stuart Davis. “In the early 1930’s, he joined the Harlem Artists Guild and was responsible for the drawing of cartoons that were to be published in Baltimore Afro-American. He formed the spiral group that dealt with the promotion of the black artists’ works, as well as, exploring ways for contributing to the civil rights movements at that time” (edu, 2014). His lifelong commitment to African Art, helped shape the way that African American art was viewed.
painting, and I react as such. There is a clear blue middle that he seems to draw attention to.
Bishop, Elizabeth. “One Art.” Literature: A Portable Anthology. Eds. Gardener, Janet, et al. 3Rd ed. Boston: Bedford/ St.Martins, 2013. 455. Print
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
We see a very sharp and clear painting with dark colors close to the red. The painting look so real that fools the eye and the observer has the impression that it is a computer graphic and not a real painting. The composition it’s ruled by straight diagonal lines. But there are some vertical lines to break the monotony and to relax our eye. Our vision goes straight to the fireplace because it’s the only object on white and attracts our attention.
"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.