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Have you ever been in a living room painted in all different colors? This idea is represented in David Hockney’s painting “Large Interior”, and is currently on view at The Metropolitan Museum of Art in New York City. David Hockney is an American but British born artist who was born in 1937 in Bradford, England. England is also the country where he completed his education. In 1953-57 he attended Bradford College of Art. Eventually his career brought him to Hollywood, California, where he lived for 40 years. It was during that time when he painted this special painting. Although he is big fan of Picasso, he has not limited his own techniques and style in the cubist way, but rather he applies a new way of creating art by using modern technology. In 2011 in The Louisiana Museum of Modern Art for the first time he exhibits, created on his iPad a printed art collection, called “Me Draw on iPad”. Although this painting is not part of his new art it is fascinating and astonishing. “Large interior” is a painting where Hockney presents a cubist vision and different geometric shapes by using oil, paper and ink on canvas. The word “interior” in the title of this painting has a very powerful meaning and suits the painting itself. Literally it means to be “located on the inside of something” as if the artist challenges the viewer to look inside himself and wonder what he would find there. Is he large enough for some beautiful art? The painting itself presents a modern furnished living room without human presence. The viewer’s attention is captured in the middle of the painting but seems like he continues to explore every single element of this imaginary living room. The fireplace, the floor, the walls and all the shapes, which construct the cei...
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...ant objects in the artist’s painting are the sculpture, the painting on the wall, and the draft above the fireplace, as they are various examples of the modern art .The presence of flowers in a vase and the plate with fruits on the tables speaks of being close to nature, bringing nature inside of our living space and seeking harmony and healthy living. Art should influence the aspects of our life, should make us been better, should bring us to the higher level of humanity and should fulfill our personality. The drawings, the paintings and the sketches are going to be created always, the same way, the way new technologies are going to be invented always. In the article titled “David Hockney’s iPad art”, by Martin Gayford, he writes: “but drawings, like songs, Hockney believes will always be with us: it is only the means of making and delivering them that will change.”
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
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.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
With an admiration for the unconventional, I am moved by Jackson Pollock’s Autumn Rhythm (number 30). If I could see any art piece in person, this would be my choice. I believe that Pollock’s radical painting style and the way in which he lay the canvas flat on the floor to work, gives this piece a deepened perspective. There is a visible control in the chaos to which Pollock has said "I can control the flow of paint: there is no accident." Seeing this piece in person would awaken my unconsciousness, and convey the feeling of spontaneity that I wish society will still embrace.
...great masterpiece was in fact “Potato eaters” he had planned it for several years and created many practice sketches and paintings trying to bring the image in his head to life. The final painting consisted of 5 figures sitting around a table in the darkness, illuminated by a lamp, eating potatoes. Even in the darkness the intense emotions on the faces of the characters are seen clearly. The vibrant color and darkness allows the viewer to notice other aspects of the work. The viewer can see the soft gentle lines forming in the window behind the figures in the darkness, the picture frame hung on the wall, the large platter of potatoes and the weathered edges of the table, these aspects aren’t always noticed but are important to the work. They create an illusion that the building is the home for the residents and gives the impression of peasant life.
B. Shape – The most obvious shape is the round sun in the upper left of the painting. The bottom of the sun is going into the horizon to represent sunset. The house is represented by a triangle front on top of a cube to give the impression of depth. An oval shape represents the figure’s face.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
This painting has deviated from the standard Renaissance model in that it goes beyond depicting subjects and scene, and employs exaggerated form, color emphasis, abnormal planar depiction, and visual directionality. The aspects of this painting have become the embodiment of the story told and the characters there held. The artist has used various techniques of color, line, and juxtaposition in order to portray an idea which supersedes the sum of its parts, and thereby leads the viewer through a thought.
“Edgar Degas seems never to have reconciled himself to the label of “Impressionist,” preferring to call himself a “Realist” or “Independent”” (Schenkel 2000). The Interior is from realism period because of it 's style and accuracy of objects