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Abstract art meaning
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From Richard Serra’s “Tilted Arc” it gives a sense that the artwork would stand out because it’s dark color and everything else are bright colors. Which the abstract of the tilted arc represents sadness, power, mystery, and aggressiveness. It is also made out of steel which gives the texture a hard touch. However, Richard Serra did not think of how people would feel about it because the place where they had put it in is where people had to work. Since, the tilted arc is 12 feet high and 120 feet long, people were so eager to remove this piece of art because it did not fit the atmosphere of the place. Richard Serra’s “Tiled Arc” is a very unique piece of art. It should have not been removed from its original location because of the great
message behind it. It resembles our own lives because even though we are sometimes loss it shows that our lives are better in the next step or next chapter. Although people didn’t realize the message many were just concentrated in the perception of beauty. Since the building, trees, fountain, and the ground surrounding the Tiled Arc are all bright colors. It would have been great if this piece of artwork was still there so people can stop and reflect for a moment. If this piece of artwork stayed there, then it would also be a point of interest in Federal Plaza, New York and more visitors would come to visit.
I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
...tion of the monument. The person can clearly see that the angel is looking directly down towards the man, in thus making the man as the implied shape of the Monument to Mignard painting.
...understandable of making use of perfect architectural form as geometry, in terms of believe and as well as architecture. His design was straight to the point , making use of geometrical shape and it’s magnificent meaning which itself emphasises a perfect form and perfect centre point at its middle, which itself is a powerful remark on the focus point of the building (crucifixion spot at Tempietto and the pulpit at the Basilica) this achievement is more effective rather than using of coloured and expensive material ,gold ,sculpture ,painting ,large windows and light or other architectural elements which Baraque architecture used to bring about the attraction and highlight it’s point in the building.(the Alter of Grace at Church of Vierzehnheiligen)
Few Californians know hardly anything or nothing about California’s founding father. Fourth graders go on a field trip to a mission to learn about missions and then return to their regular lives, never wondering about missions again. Few of those children return to visit a mission. There is a chance that a few know of California’s founding father and who he was. Father Junipero Serra is that founding father who is just as important as George Washington, Benjamin Franklin, John Adams and several others. However he was a different founding father, a religious one who shaped California. Junipero Serra by Steven W. Hackel delves into Junipero Serra’s life and how he lived. Father Serra, a devoted Catholic, “devoted himself to the universalism of Catholicism, the suppression of individualism, and the renunciation of materialism.” (242)
The notable French-Canadian abstract expressionist Jean-Paul Riopelle is known for his signature large-format mosaic composition to establish explosive engagement. The monumental Chevreuse II (Figure 1) in his Mosaiques series was created during 1953 to 1954, measured in 3m x 3m. This work is currently on exhibit at the Art Gallery of Ontario (AGO). The AGO decided to put up a co-exhibition of Riopelle and his romantic partner Joan Mitchell’s works, and titled the exhibition Nothing in Moderation.
In this great time known as the Renaissance, many pieces of art that reflect humanism were created, but only one stands out like a sore thumb, Brunelleschi's Duomo di Santa Maria del Fiore! Since the Duomo is based off Roman architecture, many innovative ideas were used to create it, and because it was built to be enjoyed, not worshipped like the past pieces of religious art, the Duomo is, by far, the best creation to represent the
painting even though the event represented in the painting took place long before the Roman Empire. The center temple that occupies the background has a vanishing point running through its doorway and if it weren’t for this illusionistic technique, the painting would be very two-dimensional.
...ral (138 ½ feet), Michelangelo’s St. Peter’s (137 ½) and Wren’s St. Paul’s (109 feet). Until steel and concrete technology advanced in the 19th century, no single spaces were larger than these. Bibliography Dirimtekin, Feridun. [1964]. Saint Sophia Museum. Istanbul: Touring and Automobile Club of Turkey. Fossati, Gaspare. 1852. Aya Sofia, Constantinople : as recently restored by order of H. M. the sultan Abdul-Medjid. London: R. & C. Colnagni & Co. James Stevens Curl. Classical Architecture: an introduction to its vocabulary and essentials, with a select glossary of terms. New York: Van Nostrand Reinhold, 1992. ISBN 0-442-30896-5. NA260.C87. interior photo of circular space (photo of the prostyle octstyle portico of the Pantheon) William L. MacDonald. The Architecture of the Roman Empire I. New Haven, CT: Yale University Press, 1982. ISBN 0-300-02818-0. LC 81-16513
Ghiberti, Lorenzo, Gary M. Radke, and Andrew Butterfield. The Gates of paradise: Lorenzo Ghiberti's Renaissance masterpiece. Atlanta, Ga.: High Museum of Art ;, 2007.
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...
The late architect Professor Sir Edmund Happold wrote, “A world which sees art and engineering as divided is not seeing the world as a whole” (Sharpe). With these words he recognized and articulated the importance of interdisciplinarity in regards to art and architecture. When the enduring nature of a literary work combines with the durability of buildings, an even more lasting permanence comes into being. Through an inspired architectural design, Dante Alighieri’s timeless work, the Inferno, has been immortalized in stone. The Palacio Barolo in Buenos Aires, Argentina, stands as concrete testament to and celebration of the lasting
Titian’s style of art, and his masterful techniques with religious art, mythical compositions, and successive glazes have never been surpassed. They influence generations of artists to come, and will continue to do so as long as his work is studied. His place in the Italian High Renaissance will never be overlooked.
The Navajo Sand Paintings is an example of a sacred symbolic object commonly misinterpreted as nothing more than an artistic piece of primitive art. In actuality, the beauty is being overseen because Navajo sand paintings have more significance. This so called `piece of art' serves as a major device, but in a...
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
The Fragment of a Fresco is a piece that is perfectly balanced with equal proportions divided directly in the center. It is an illusionary view shown through two panels that appear as green tinted glass. Within these panels are scenes of the world outside as if looking through a window. Looking into the left panel, one can see a square temple with ornamental sculpture surrounding the roof. An intricately designed columned porch runs deep alongside the temple. In front of the temple at the base of the panel, is a group of men or boys displaying gestures of joy and happiness. The right panel is filled with a cluster of various buildings including a round temple. The depicted buildings display a view of the elevation and complexity of the design of the city. The buildings are painted using an elaborately layered style that utilizes shadows to show the depth of the city. The upper portions of both panels have faded to the point that the scenes are completely obscured. Directly surrounding both panels is a red border that is plain and non-decorative. Dividing the fresco into the two individ...