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Renaissance period art
Renaissance period art
Historical analysis of Renaissance art
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Reneé Sintenis’s bronze sculpture Daphne. It is 58 3/4” high include the base. Located on the right wing which is the European area of the museum. There are not a lot of natural light on the sculpture, but there are several spot light. Those lights highlighted the whole sculpture. The lines of the sculpture is thin and rough but it gives viewer a tone of tranquility and gracefulness. From the front view, the sculpture seems like a growing tree. The color is dark brown and the whole body is mainly in the same tone. In this view point she is mainly in a straight line, the top seems larger than the base. We can see that although the sculpture is pretty thin but the weight is well balanced. Her two vividly hands are gently open reaching …show more content…
It’s not about the technique and the detail. The Kore is standing in a rigid pose, obedient and immobile as it were, yet bursting with strength and femininity through her soft arms, the kind features of her face, and the subtle suggestion of the curvature of her body under the heavy peplos. The ornate hair that drapes naturally on her shoulders, her measured “smile” and the pigmented iris bestow a sense of abundant vivacity and potential energy to the statue. Daphne is different, movements are all over her body. Her stretching arms, down neck, turning chest, bending legs. All of these make her not only a sculpture of somebody but a vividly scene that is telling us something. The Kore can’t attract people as long as Daphne can because it don’t have deeper meaning as Daphne do. Daphne is more like free lines but Kore is solid shape. We can see the improvements of art through out these two pieces. It become not only focus on realistic and looks but more on what the artist trying to tell us. In Daphne’s case, the artist simplify the details which would make her look more human-like, but on the artistic conception. To see this sculpture as a whole pice and make viewer get the feeling even standing far away. Daphne can work very well with the environment. If you place it outside it will perfectly join in the garden. This is which Kore can’t
“In response he expected us to play the part of an enthusiastic family, but we were unwilling to resume our old roles” (Sedaris 5). In life, unreliable people surround us. These people often break promises, bringing disappointment in one’s life. Sometimes the unreliable person may not realize the disappointment the broken promises bring to others. Like in the quote from “The Ship Shape” by David Sedaris, the father expected the family to be excited about the promises, but instead they were disappointed because they had been let down numerous times. Being continuously disappointed by a person can also lead to future problems such as not trusting the person, which eventually jeopardizes the relationship. This situation was true for both Sedaris and me. In both situations, people to whom we were close to made promises, but never delivered.
The artist says, "I first used the horse images as a metaphorical substitute for myself-it was a way of doing a self-portrait one step removed from the specificity of Deborah Butterfield". Sculpturing is all about expression, as the image form has depth as well as width and height; three-dimensional display. Deborah's innovative and intellectual ideas are seen in the horse with its pose and energy; alert and ready to react to whatever comes its way. The form is organized to create the image; each branch represents a part of the horse's physique. It appears as though the horse is made of tree branches and twigs, however, Deborah actually does use branch material for the horse, but then completes the sculpture by casting each element in bronze; creating this life size beast.
The process by which this particular statue was created involved using a method developed by Kaikei, a Japanese sculptor. It was a groundbreaking process that involved carving different pieces of wood separately and then joining them together (“Amida”). Instead of using a single object for creating a sculpture, multiple parts could be used to make the statue easier to construct and put together. After the parts were all joined together, the statue was covered in a lacquer finish and gilt was added to the face to give it the golden look.
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
In addition, to the composition of the painting, the balance is also a dynamic factor. Both Ducci...
These strands stand vertically and are parallel to each other referencing the DNA molecule of the double helix. When the curves of one spiraling strand are against another, going inwards and outwards, it leaves open gaps. This continues around the whole sculpture. Thus, the use of geometry on the sculpture’s visual form allows the artist to manipulate it to create a form of movement which impacts the abstractness of the artwork. The size of the sculpture is around fifteen feet tall. However, the spiraling strands when assembled together vertically makes the viewers look at the sculpture from top to bottom and around it. This creates an illusion that the structure is taller than it appears to be. Looking at how the sculpture is standing on its own, also makes us consider what techniques were used during the process of constructing it. One of the few techniques that the artist may have considered to construct the sculpture was armature and mesh. Pieces of metal and wood are used to create the armature as a standing frame for the model. This would better support the monumental structure rather than it falling
In “The Scarlet Ibis,” Hurst demonstrates that expecting too much of others will push them past their breaking point through the use of characterizing the narrator as conceited and self-centered through his forceful actions, mainly due to pride, towards his brother Doodle. Throughout the story, the narrator manages to push his brother to his limit by continuously forcing him to take part in activities beyond his athletic abilities, which eventually leads to his downfall. After the narrator’s attempt to run a development program for Doodle,
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
When beginning my sketch, I took a moment to analyze the work of art and found that the statue illuminated a sense of serenity. Like most viewers my initial reaction was to explore the statue from head to toe as I sought out the different elements and principles of art. The statue was close to life-size and just about my height, so looking straightforward we were eye to eye. I noticed the softness gathered about the facial structure, but all the same time the depth and complexity that was engulfed around the muscularity of the body. The rigorous symmetry was accounte...
This stone sculpture is a naked human-like figure standing six feet tall. The body is in chiasmos stance with the left leg slightly bent and the left foot slightly behind the right. The head is turned slightly downward and to the right, and its size is approximately 1/6 of the body. The hair is cropped closely to the head with no part. The body has a defined musculature, however the forearms appear to be missing. There is an object behind and to the right of the right leg that is about 2 feet tall and 10 inches wide.
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
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.
Using blocky pieces that are similar in shape – though differing in size – gives the impression that something is about to fall. The medium sized piece that is affixed to the size of the larger shape is what appears as though it may fall at any moment. Meadmore has found a way to bring a balancing act to the world with this sculpture. The carefully placed bent rectangles create an impossible pose that is a great balancing act. The harmony between the similarly shaped geometric forms, the darken sheen of finished bronze, and the precarious placement is what gives Meadmore's piece a place in the world. Like Barbara Hepworth, Meadmore has found a form that leaves the viewer questioning the stability, but knowing it will never actually
Though it has changed very slightly over time, The Charge of the Goddess and other poems written by Doreen Valiente are still used in pagan rituals especially in the BTW traditions. As a result, there is a general acceptance of a Goddess deity within Pagan culture. In 1979, it was estimated that there were less than one hundred thousand modern Pagans in the United States, as of 2006 that estimate has swelled anywhere from four hundred to six hundred thousand in the US and over a million worldwide (Adler: 2006). To understand how historical events may have led to what is now Neo-Paganism, many pagans from different traditions were interviewed about their knowledge and understanding of the Goddess Movement that arose out of the theories presented
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...