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Quizlet art appreciation
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Art Appraising Essay
Appropriation has been practiced for centuries to create a similar image but with a different meaning. When artworks are appropriated with respect, it is called homage, meaning reverence paid or rendered to an artwork. The famous art work Las Meninas painted by Diego Velázquez in 1656, has been appropriated by several artists. Artists which have paid homage to Diego Velázquez’s artwork are Joel-Peter Witkin and Equipo Crónica. This essay will discuss how Witkin and Crónica appropriated Las Meninas by creating individual artworks and how elements from the original work were placed into theirs.
The oil painting Las Meninas painted by Spanish artist Diego Velázquez, with measurements of 318 x 276cm, has been appropriated dozens of times throughout the centuries. The realistic self-portrait’s complex and enigmatic composition raises questions about illusions and reality, and creates an uncertain relationship between the figures depicted and the viewer. The various planes are indicated by perspective, the interplay of light and dark, and a clever use of colors. The elusiveness of Las Meninas, according to the art historian Dawson Carr, "suggests that art, and life, are an illusion". The relationship between illusion and reality were main concerns in Spanish culture during the 17th century. The self-portrait shows a large room in the Royal Alcazar of Madrid during the reign of King Philip IV of Spain, and several figures from the Spanish court. The young Infanta Margaret Theresa is surrounded by her entourage of maids, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas and in the reflection of the mirror are the king and queen. The two artists which ha...
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...of the old symbols but also reinterprets the tradition.
Crónica is a Mexican artist that has successfully appropriated Las Meninas.
Witkin and Crónica are great examples on how it is acceptable to respectfully appropriate artworks. There are really no new forms, figures, or compositions that artists haven’t already created, and artists have always recycled imagery from previous art to create a new artwork but with a different meaning. Appropriation can be practiced respectfully without it being forgery or a hoax. It is acceptable to create your own work by taking elements from other artists and adding it into yours. The complexities, the various planes indicated by perspective, the interplay of light and dark, and a clever use of colours have been a contribution to this extraordinary painting by Velázquez which has inspired millions around the world for centuries.
One of Morimura’s most iconic pieces, Daughter of Art History: Princess A is based on one of many portraits of the Infanta Margarita by Diego Velazquez, and is meant to inspire a feeling of estrangement in viewers. The process of creating this piece was incredibly elaborate, taking several months to complete. A remarkably complicated set was built to appear as similar as possible to the background of Velazquez’s original work. Morimura then proceeded to paint his face to mirror the appearance of the Infanta Margarita and inserted himself into the work by way of a small hole in the background fashioned for that purpose. The three-dimensional stage he created combined the background and the body of the princess in a way that permitted him to attain the desired self-portrait with a single, unaltered photograph. He also deliberately exposes his masculine arms in place of the Infanta Margarita’s slight, girlish limbs to indicate to the viewer that he is neither a female nor a child. By doing so, Morimura is creating “an ambiguous realm which is (a) neither adult nor child, (b) neither a contemporary image nor a historic painting, (c) neither Asian nor Western, and (d) neither woman nor man”
Regardless of taste, an appreciator of art should be able to recognize when an artist exerts a large amount of effort and expresses a great amount of creativity. Understanding the concepts incorporated by truly talented artists helps the viewer better understand art in general. Both Van Eyck and Velasquez are examples of artists that stood out in their time due to their unique vision and their innovative style, and are therefore remembered, recognized, and praised even centuries after their works were completed.
Las Meninas was Velázquez’s largest oeuvre measuring 3.21 m by 2.81 m (Umberger 96). Velázquez’s masterpiece is one that draws sharp criticism ranging from those who find this work as a complete piece with its pictorial features prominent in the artwork, to those who find it hard to interpret its content conclusively (Ancell 159-160; Snyder 542+; Steinberg 48; Bongiorni 88). Despite such disparities, Velázquez’s masterpiece was able to project a day in the life of the royal family while at the same time achieving his artistic ideal. This work explores this artwork in light of the royal family and personal gratification by Velázquez as a celebrated artist.
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.
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Pablo Picasso is one of the most famous and well-documented artists of the twentieth century. Picasso, unlike most painters, is even more special because he did not confine himself to canvas, but also produced sculpture, poetry, and ceramics in profusion. Although much is known about this genius, there is still a lust after more knowledge concerning Picasso, his life and the creative forces that motivated him. This information can be obtained only through a careful study of the events that played out during his lifetime and the ways in which they manifested themselves in his creations (Penrose).
My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
Diego Rivera was deemed the finest Mexican painter of the twentieth century; he had a huge influence in art worldwide. Rivera wanted to form his own painting fashion. Although he encountered the works of great masters like Gauguin, Renoir, and Matisse, he was still in search of a new form of painting to call his own (Tibol, 1983). His desire was to be capable of reaching a wide audience and express the difficulties of his generation at the same time, and that is exactly what h...
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Las Meninas is considered one of the greatest paintings of all time by critics and casual admirers of art alike. It was painted during a time when Spain’s glory was declining, and Velázquez was surrounded by the remnants of a once-great court, which was now in shambles and debt. King Philip had entered depression, due to the fact that he did not have a suitable male heir to the throne and was bankrupted by the Thirty Years’ War, and paid little effort to governing his country. He had lost power, and his portrait in the mirror of Las Meninas illustrates the shadow of what Philip had once been. The center and main focus of the painting is La Infanta Margarita, Philip’s five-year-old daughter. Light streams through a window onto her face, illuminating her with a golden light. Two of her meninas, or ladies-in-waiting, are located on either side of the princess, one kneeling and offering her a glass of water with another rising from a curtsy. On the right side, the dwarf Mari-Bárbola and the midget Nicolas Pertusato stand, along with a brown dog. Behind them, a man and woman are in conversation. On the left side, a massive canvas looms over the group as Velázquez, the artist, stands behind it with his brush and palette. On the dark back wall, two paintings hang along with a mirror which reflects the countenances of the king and queen. A man stands in the doorway of a door in the back of the room, with his hand on a curtain as if he has just pulled it open. The room appears almost empty, save for the figures in it, and this emptiness is amplified by the room’s high ceiling. Diego Rodríguez de Silva y Velázquez’s masterpiece, Las Meninas, conveys a message telling of the crumbling political situation and uncertain future of Spain at the ...
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.
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
Art is a constantly evolving process. The previous style of work serves as a roadmap for what will follow. As often is the case with any form of growth, there exists a transitional period. Because of this evolution, there are traces of a style’s illustrious history embedded in the adaptive art’s metaphorical DNA. The transition from early to late Renaissance established two styles of art known as Baroque and Rococo. While, on the surface, the Rococo style can appear to be very similar to the work produced by Baroque artists, the two also demonstrate distinct differences in their use of subject and theme, the manner in which they created the art, and how that art was perceived in their time. These factors establish both styles from one another, making them unique.
Throughout history art has presented itself in many different forms. Two forms of art are poetry and paintings. William C. Carlos’ poem “The Dance” paints a picture while Pieter Brueghel’s painting “Peasants’ Dance” tell a story. The odd thing is that both the poem and the painting have many similarities as well as many notable differences. Tone, image, and imagination show the many similarities and differences between William C. Williams’ poem “The Dance” and Pieter Brueghel’s painting “Peasants’ Dance.”
A great number of works of art, it is universally claimed, are aesthetically precious. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. The truth is that some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing.