This essay is about Dances at the Spring. The art work was painted in 1912 by Frances Picabia. The size of the painting is 49 5/8x 49 7/8x 2 inches. The painting is housed at the Philadelphia Museum of Art. The form represents abstract art. The artist used geometric angles with swirling motions that are kaleidoscopic using vivid colors. The content of the art work are two girls dancing at a peasant dance at a festival. The painting represents the art form of Dadaism, which is a movement in the art community that was thought to be against art in the traditional sense and was meant to insult and outrage the community. Dadaism began around the same time as World War I in the early 1900’s. The media used for the painting is oil based paint on
a canvas. The painting is supported by a wood frame that the canvas is wrapped around. Oil based paint can be blended directly on the canvas as the artist is painting. Additionally, because oil based paint does not dry as quickly as other types of paints the artist has the ability to continually work on their image without time constraints or if they wanted they could even change the image. Oil based paint can be blended to create a wide range of different tones and hues to create the image the artist is going for. The paint can be thinned with turpentine to make the paint nearly transparent or it can be applied directly out of the tube. Furthermore, oil based paint can even be applied in thick layers that the artist can molded and shaped into three dimensional images called impasto. The artist can even decide to apply thin layers of paint that are transparent to create the illusion of light coming off the work of art which enhances the perception of space in the image of the art work. The artist may have achieved his image by glazing the paint within thin layers of transparent paint that had been thinned using turpentine to create the illusion of light from the brighter colors of the image. The artist used neutral colors for the art work, which are tones of brown, light brown, orange, light tan, and black was used for contrasting color. Frances Picabia used geometric shapes with angular shapes to create the abstract art. The texture of the painting contains swirls creating a texture on the surface giving the illusion that colors fade from dark to light in the painting. At first glance when viewing the painting, it seems as though the painting is nothing more than a jumble of different size geometric shapes. The longer the viewer studies the painting, the image of the two girls dancing together become apparent. Even though the same shapes and colors were used throughout the painting, you can see where the ground is underneath their feet. Furthermore, it is apparent where that each girl is facing each other holding hands as they dance as their dresses swing with their movements. The background of the painting is difficult to distinguish what the shapes represent, however, this could be because the focus of the painting is the two girls dancing rather than what is included in the background of the image. Possibly, something that the artist decided to leave up to the viewer what they see behind the two girls. The artist may have created this effect by using a mix of contour lines and outlines on different shapes in the image. The color scheme of the painting is of a warm temperature through the use of orange, brown and black colors. A lighter tan color was used to reflect light off certain parts of the image such as highlighting the girls faces and legs in the painting. The visual weight in the art work seems heavy. There is no real balance between the size of the object in the image. All of the shapes in the art work are asymmetrical, there is no real balance from one side of the painting to the other. All of the shapes are a mix of large and small geometric shapes with the focal point concealed in the center among the various shapes in the painting. Dances at the spring
This painting is set within what seems to be the nineteenth century. One can infer this information based on the clothing, furniture, and architectural styles prevalent in the picture. The main figure that is central in the piece, the older man, fits the role of what appears to be a teaching position, where the boys that surround him are his students. The scene displayed here is one of an examination day. Each boy must t...
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
Different Dance Styles by Doris Humphrey and Maud Allen that Presented New Dances that Displayed Innovative Movements.
"Giselle" is a romantic ballet choreographed by Jean Coralli and Jules Perrot. Adolphe Adam beautifully composes the music. This ballet was originally performed in Paris in 1841. The production that we viewed in class was from La Salla. "Giselle" is one of the last ballets of the Romantic era.
During the Art Deco era the calla lily became one of the most popular flowers around. Whether in florist shops or on artist canvases the calla lily became a recurring theme. Like many flowers before it the calla lily came to be more than a flower on its own but it represented the idea of femininity. The calla lily was used by artists such as Tamara de Lempicka, Diego Rivera and Georgia O’Keeffe as a symbol of femininity and feminism. Through examining their works, in relation to their own lives and the events of the day, I will explore how the calla lily came to represent a new type on femininity and feminism.
This investigation will examine a few key works by the anonymous female artist group known in popular culture as the Guerrilla Girls. In this essay, it will reveal several prominent themes within the group's works that uncover the racial and gender inequalities in politics, art and pop culture with the use of humor. These collaborating artists work and operate with a variety of mediums, their works display a strong message concerned with activism connected by humor allowing the Guerrilla Girls to communicate and resonate a more powerful message to the viewer. The ways in which this collaborating group has employed many questions and facts against the hierarchy and historical ideologies which have exploited women and their roles in art. This investigation will allow the reader to identify three areas in which the Guerrilla Girls apply certain forms of humor to transform society’s view on the prominent issue of gender in the art world.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Jones, Leslie C.. Transgressive Femininity: Art and Gender in the Sixties and Seventies. Abject Art: Repulsion and Desire in American Art. New York: D.A.P., 1993.
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
These cultural strictures come in a number of forms. First, the artist attacks intellectual conformity, choosing art over all other means of self-expression even though it is not widespread in his or her society. Though it is not explicitly stated - and is perhaps even subconscious - the artist chooses art over either academe or high society. The artist questions society's customs, making this choice explicit in their daily actions. The artist rejects ostentatious displays of wealth and the cultural emphasis on money, replacing it with a frugal simplicity more conducive to authentic experience. Finally, the artist calls into question the cultural construct most important to any understanding of human interaction - the binary conception of gender.
This paper deals, in broadest terms, with the questions of how artwork is connected to the changes and dynamics that prevail in a society. To describe these changes, I will investigate how a specific type of art reflects its social content in contemporary societies. My analysis is carried out by closely looking at the Pop Art movement, especially with Andy Warhol, who has come to be known as one of the greatest artists of the 20th century. It will be argued that Pop Art managed to successfully articulate its time, and in so doing, it became a widely influential art movement whose effect is still very much existent in today’s world of art. In order to prove its claim, this paper relies on the theory of “the field of cultural production” by Pierre
Over the years many artists and art historians, such as Giorgio Vasari, Pablo Picasso, Paul Rand and Marcel Duchamp, have explored the definition of art. This essay will look at the opinions of these individuals and explore the concept of art by looking at various art movements, such as Dadaism and Cubism, which have influenced the definition of art, as we know it today. In this essay, I will also discuss the two elements of art; form and content, as well as how they are key to any discussion about what makes “good art” and “bad art”.
John Berger’s article explained European eighteenth century art and related it to many of our ideals today. Before he began to explain the art itself, he told us the cultural constructions that exist today. These cultural constructions were enforced and were highlighted through European eighteenth century art. He began by explaining the difference between a man and a woman’s presence. Men’s presence depends how much power he is able to successfully portray. This power can be social, economical, sexual, etc. A woman’s presence expresses her attitude toward herself and in turn how she will allow other to treat her. This explains why women are so critical of themselves and critique their actions no matter what the situation may be.
Pop art is an art movement that questions the traditions of fine art and incorporates images from popular culture. Neo-Dada is an art trend that shares similarities in the method and/or intent to Dada art pieces. Both these movements emerged around the same time periods in history, the 1950s and 1960s, and artists from both generally got their inspiration from the Dada movement, which developed in the early 20th century. The movement altered how people viewed art, and it presented a variety of new methods and styles. Dada artists, also known as Dadaists, believed in showing their anti-war beliefs through their artwork. The Dada movement produced a different style of art, and pieces created controversy because they were outside the realm of what society considered art and what was expected and acceptable. This set in motion a chance for artists to be able to create the kind of artwork that inspires them, even though it was considered unorthodox. Even though they were controversial, many pieces that were created during Dada heavily influenced other styles of art to come after, such as Neo-Dada and Pop art. The influence of Dada can be seen in Robert Rauschenberg’s work, who was a Neo-Dadaist, and it can also be seen through Andy Warhol’s work, a Pop artist. Even though Dada affected both artists, they created very different pieces. This paper will analyze Warhol’s Campbell’s Soup Cans and Rauschenberg’s White Painting (Three Panel) and discuss how they were impacted differently by the Dada movement, and why they are each considered to be different styles of artwork. The time in history of each artist was the same, and the same movement influenced them both, but the outcome of the art that they each created was incredibly different....