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American romanticism movement
American romanticism movement
American romanticism movement
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Ahmad Maruf Maggie Mustard Art Hum, Spring ’14 Visual Analysis #5 Date: 03/31/2014 Francisco Goya, The Third of May 1808, 1815, oil on canvas Francisco Goya’s The Third of May 1808 introduces the highly emotional style of Romanticism (French Revolution) and illustrates the themes of violent punishment, death, and the senseless brutality of war. Goya has made an image of actual historical events, but enhanced them for maximum dramatic effect. In the painting, the figures to the left of the composition demand the viewer’s attention more than the figures to the right. While the faceless French soldiers on the opposite side are rendered almost inhuman, the ill-fated Spanish “rebels” elicit both sympathy for their suffering and respect for their sacrifice. Goya’s portrayal of the French soldiers as faceless shooters in a sharp, linear formation stretches diagonally from the front center to the right background. We see a row of hooded French soldiers aiming their guns at a Spanish man, who stretches out his arms in submission both to the brutality of the soldiers and to h...
In the painting of the Liberation of the Peon, Diego Rivera depicts soldiers cutting down a naked man from a post. At first glance, the soldiers appear to have whipped and beaten the man. Without careful deliberation, viewers could easily interpret the scene this way due to the visible scars on the man’s body. However, through visual clues, viewers of the Liberation of the Peon can infer that this is not the case. In actuality, the soldiers are helping the man down from the post and providing him with a blanket.
Nevertheless, one of the most important imageries is the fact the rifle itself represents war; thus, the soldier takes so much care of the rifle because the rifle, or the war, once took great care of him by shaping him into the man he is today and, most importantly, by keeping him alive. Imagery, therefore, proves how Magnus delicately transmits information so that an appropriate characterization could take place, which informs the audience about the soldier’s character and, ultimately, the importance of war to the
This new technological development defines the emergence of universal/total war that changed the field of combat before and during WWI. This piece was obviously painted in 1911 right before WWI, but it presents the historical change from horse-driven combat to the more industrialized methods of canon warfare. By WWI, the rise of tanks and artillery made the French Calvary obsolete, and it gave rise to the modern French infantry. Much like Levinthal’s photographic depiction of tanks and soldiers in WWII, the development of those technologies are defined in Fresnaye’s acute sense of movement in military maneuvers. The use of artillery in WWI would now make it possible to kill hundreds of thousands of soldiers with more advanced industrial development of machine technology. Certainly, Fresnaye is depicting the power and masculinity of the French infantry in terms of the coming devastation that WWI would bring to Europe. The use of artillery was a major change in the field of combat during WWI, which defined the horrors of universal war in the modern psyche. Fresnaye’s cubism illustrates the advancing modernism of early 20th century warfare in the angular and geometric depiction of men and artillery as a new phenomenon in the art world. Certainly, Fresnaye’s painting illustrates the modern psyche of total/universal war in the depiction of modern
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
· Packard, Fred M. The Effects of War on the Works of Two Spanish Painters -- Goya and Picasso. Master's Thesis for Kent State University, 1961.
To conclude this essay we have acknowledged that ‘The Charge of the Light Brigade’ and ‘Dulce Et Decorum Est’ are contrastable. However, in some points they are compatible as both involve war. Even though they mention war, it is shown in different ways. As ‘The Charge of the Light Brigade’ glorifies soldiers and the war, whereas, ‘Dulce Et decorum Est’ points out that war are not as heroic as it seems but instead is a horrifying brutal affair.
Artists portray gruesome events in many ways including poems and videos. Gruesome events are portrayed in similar ways and also different ways including what is put in and what is left out. Whether it be leaving out who started the war, telling the whole story, or emphasizing elements in different ways the artist clearly portrays the Civil War of Spain as a gruesome and horrifying event. Both mediums clearly show how life was before the war and how people have been hurt. Both artists give the reader a sense of how the war affected everyone in Spain and eventually give the rest of the world a reason to “come and see the blood in the streets”(1/5 voices).
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
drawings, and photography. I found the painting’s depiction successfully showcased the sobering penalties of the cost in battle between French troops and Spanish civilians. Exploring the detail in the picture you can see that Goya’s utilized his technique to created a contrast of shades between light and dark that truly encapsulate the strong emotional intensity of the horrifying scenes, demonstating powerful elements with imagery . In the picture you are able to there are many aspects beginning
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.
As mythology has always piqued my interest, Roman and Greek mainly, it is only natural that Saturn Devouring His Son by Francisco Goya stopped me from turning the page. This piece has been burned in my head since I was a junior in high school. The painting doesn’t have a lot of color, light, patterns, or textures but it draws you in instantly. It is a horrific image to look at, but the same time you can’t look away at this man savagely eating another human. As gross at this painting may be I believe it holds some strong messages.
Nagel, Gwen. “A Tessera For Frederic Henry: Imagery And Recurrence in A Farewell To Arms.” Ernest Hemingway Six Decades of Criticism. Ed. Michigan State Press : 1987. 187-193.
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...