Linzi Lynn is a self taught painter who is known for her color oriented acrylic paintings of people and animals. Linzi was born in London, England, but has been traveling the world ever since she was a kid. At age 11, Linzi was in the performing arts business as a singer and dancer, and was sent to a theatrical school by her parents when she began to demonstrate her many dramatic abilities. In 1973, Linzi started to channel her performing artistic creativity into acrylic painting. By using her theatrical background, she was able to transmute her dramatic emotions into vibrant colors painted on canvas. In 1992, she moved to America and decided t enhance her self- taught skills by taking art and photography classes at Montgomery College in Maryland. …show more content…
The technique she uses may appear to be plain, but inside each stroke of color there is reasoning behind why she choose that color in that spot. Her work does not display color with no value, Linzi emphasizes where the light is coming from on the painting by using diverse values throughout the piece. The painting of the elderly man can demonstrate how Linzi incorporates value throughout the piece to achieve the more realistic look while also being imaginative. In the portrait, the viewer can observe how the light is hitting the man on left, by the way Linzi used yellows, reds, and lighter colors. This can be compared to how she used dark blues, purples, greens, and reds on the right to emphasize the lighter hues on the left. Her artwork catches your eye every quickly because of the bright colors she uses in all of her pieces and the parts she chooses to emphasize with the lighter colors. In the picture of the gorilla, the face was automatically intriguing because it is not all black. Linzi's work is abstract in the way that the people and animals are painted in numerous colors, but her work is also realistic because she choose to paint living things that have facial expressions. Plus, her darker hues in the gorilla painting really add texture to the piece and unifies each element together. Linzi Lynn's artwork displays countless emotional aspects from her previous performing arts career, while also capturing the viewers eye with her vibrant colors and values in her
Surprisingly, fifty years later, artist John Sloan happen to meet all the qualifications Baudelaire has designed for Monsieur G— making urban life observations and drawing from memory. Sloan adopts and employs Baudelaire’s idea of urban watching and further expands it for an American audience. Born and raised in Philadelphia, John Sloan first begun his art career as a newspaper illustrator. After years of working, he developed his own artistic style and started making paintings and etchings. When he moved from Philadelphia to New York, he has found that city life scenes of great interest that he then started observing and making etchings for scenes of modern life. He was well-known and celebrated as the founder of the Ashcan School and was most celebrated for this urban genre scenes. (Lobel, Chapter1)
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
My second gallery review is on the work of Philip Denker. I analyzed the art work at his exhibit; OVER + UNDER”. I saw his exhibit Friday November 15, 2013 at 11:00 am at Trifecta gallery inside the arts factory. When I walked into the room I loved that the room was illuminated with the light of the light bulbs, as well, with the natural illumination of the sun coming through the glass windows and door. When I got inside the room I also noticed it was spacious, and the pieces were very well ordered. The pieces were hung vertically or horizontally, and I liked this because it got my attention.
“A hidden weight seemed to attach itself to simple objects—a teacup, a doorknob, a glass—hardly noticeable at first, beyond the sense that every move required a slightly greater exertion of energy”(187). In Nicole Krauss’ short story, “The Young Painters”, Krauss brings across the idea of guilt swallowing the narrator because of her decision to steal a frightening story told to her by a dancer and recreate the story and publish it as her own work. In the first scene, the author encounters a captivating painter in the dancer’s home which she later discovers has a intense backstory. She later publishes the story as her own but adds a happy twist to deemphasize the horror of the original story. In the second scene, after an odd encounter with
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel
“Dance is movement aware of itself. Dance is purposeful movement that employs artful communication to express ideas and feelings, meaning that aesthetic intention is present” (Cornett, 2014, p 394). Art could be anywhere and anything it just needs to have creativity in order to make it unique and beautiful. One simple art form, could speak for a thousand words and convey many significant messages such as the art form of dance. Baile Folklorico is a great example of communicating in a unique and a stunning art form. Baile Folklorico is a folk dance that elaborates different dances, music and costumes to represent a Latin or Mexican culture.
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
Maya Lin is a driven and innovative artist of our time. Many of her works have been seen as controversial and received harsh criticism. She manages to trudge on. Her works express both an artistic and mathematical feel, somehow finding a beautiful marriage between. Her obsession with art and knowledge can be greatly attributed to her parents, as she was very successful at an early age. Her art career is one of many triumphs and breaking boundaries in the art world. Lin has a great love for nature, and many of her pieces help to express the significance of this, and she loves to enthrall the audience.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Furthermore, the art piece is only in shades of black and white, which really intensifies the sadness and darkness. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way. During the period in which the piece was created, it was popular to paint in a socialistic style. Kollwitz accurately did this in all of her pieces by depicting social movements, peasant uprisings, the impact of war, and the life of the worker. Her style can be categorized even further by saying that it was a form of German expressionism. This
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.
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.