THE ART FINAL
Lorie Daniels
ART/101
Sunday June 28, 2015
Aryl Ann Bashline
THE ART TIMEFINAL
Chinese Art
Fig.1
(1279-1368)
The Simple Retreat
Yuan Dynasty
Hanging Scroll; ink and color on paper
Metropolitan Museum of Art, New York
This piece was made to represent likeness it also was to create an make believe vision where all artist could share a more direct land scape was used giving it was painted with a fluttering hand stroke the colors consisted of bright pigments to dots. The painting gives calm to its surrounding space it resembled some other works which were done by others.
Fig. 2
(1279-1368)
Twin Pines, Level Distance
Yuan Dynasty
Zhao Mengfu
Hand Scroll; ink on paper
Metropolitan Museum of Art, New York
Yuan’s Twin
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pines in figure 2 were done way of calligraphy with much of its traditional ways. This art work was to give more than a since of uniqueness. Ma felt it should have a different style where the painting line met between the clouds, pines and calligraphy it also gave a certain elongation to life. Fig. 3 (960-1127) Summer Mountains Northern Song Dynasty Attributed to Qu Ding Hand Scroll; ink and pale color on silk Metropolitan Museum of Art, New York Summer Mountains in figure 3 done by Ding the painting is an pieces done with a mountain set as the background the artist used pale colors and ink to convey the different size mountains and he tried to identify human presences with the elimination of nature’s landscapes.
His very advanced strokes let you know that this was not just one painting but were part of a collection made in the 11th century.
Fig. 4
(960-1127)
Old Trees, Level Distance
Northern Song Dynasty
Guo Xi
Hand Scroll, ink and color on silk
Metropolitan Museum of Art, New York
Old Trees, Level Distance in figure 4 Guo Xi used oil to paint with, his work was landscapes. This particular one Xi used certain approaches like colors and ink in some silk. Some of the work displayed has been used on trees and rocks before but is style of brushwork adds a certain pattern that cannot be matched. Compared to some earlier works, he used soft strokes out lined the landscape with an ink that somehow rendered a moist atmosphere this particular painting has quite the work it displays an certain tradition.
Fig. 5
(1127-1279)
Scholar by a Waterfall
Southern Song Dynasty
Ma Yuan
Album Leaf; ink and color on silk
Metropolitan Museum of Art, New
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York The Waterfall in figure 5 was done by Ma Yuan unlike the other paintings this garden grace and elegance is unsurpassed. Its starts with a waterfall add some trees with a little contrast with broad strokes a beautiful colors and ink to make such a balance. Yuan work was late 12th century. Fig. 6 1965 Splashed-Color Landscape Zhang Daqian Hanging Scroll; ink and color on paper Metropolitan Museum of Art, New York Splashed-Color Landscape in figure 6 by Zhang Dagian, this painting give viewers a heavenly stroked pieces which has layers to it when seeing it at first glance you might think volcanos bat the artist was going to a western place using greens and blues the mountains for the backdrop with a shaded cloud. Fig. 7 1699 Fish and Rocks Qing Dynasty Bada Shanren (Zhu Da) Hanging Scroll; ink on paper Metropolitan Museum of Art, New York Fish and Rocks in figure 7, this scroll is about rocks and water it is not understandable work to the naked eye. This artist had a high quality of expression with a bit of tension when the fish is added it becomes a better image. Many things in the pictures can be viewed strongly to some. Fig. 8 1666 Wooded Mountains at Dusk Qing Dynasty Kuncan Hanging Scroll; ink and color on paper Metropolitan Museum of Art, New York Wooded Mountains at Dusk, in this figure 8, the artist was inspired by a visit to “yellow mountain” he wanted to show the beauty of it. In doing so he took a spiritual approach by using certain brush works style used by other artist before him. This gave space to a physical and spiritual landscape that included mountains and eater. Fig. 9 1698 The Kangxi Emperor’s Southern Inspection Tour; Scroll Three: Ji’nan to Mount Tai Qing Dynasty Wang Hui and Assistants Hand Scroll; ink and color on silk Metropolitan Museum of Art, New York The Kangxi Emperor’s in figure 9 the painting here has such an importance because it represents the emperor and its symbolic meaning and its rules. They use a brushstroke that are close in line he also incorporates green and blues it helped to make it easy to view as art. Fig. 10 1551 Garden of the Unsuccessful Politician Ming Dynasty Wen Zhengming Album of Eight Paintings; ink on paper Metropolitan Museum of Art, New York This 1551 dated painting is part of the artist personal feeling about Beijing and the politics. He adds calligraphy along with poetry to give the painting a voice. While the viewers of the painters work the figures used are easy to relate to. Reference The Simple Retreat [hanging scroll]. (October 2006). Figure 5: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/yuan/ho_L.1997.24.8.htm Twin Pines, Level Distance [hand scroll]. (October 2006). Figure 4: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.5.htm Wooded Mountains at Dusk [hanging scroll]. (October 2006). Figure 7: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/09/eac/ho_1989.363.129.htm Fish and Rocks [hanging scroll]. (October 2006). Figure 9: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/qing_1/ho_1989.363.137.htm Garden of the Unsuccessful Politician [album of eight paintings]. (October 2006). Figure 6: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/08/eac/ho_1979.458.1.htm Old Trees, Level Distance [hand scroll].
(October 2008).Figure 1: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/nsong/ho_1981.276.htm
Sayre, H. M. (2007). A world of art (5th ed.). Upper Saddle River, NJ: Pearson Education.
Scholar by a Waterfall [album leaf]. (October 2006). Figure 3: Retrieved on April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.9.htm
Splashed-Color Landscape [hanging scroll]. (October 2006). Figure 10: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/11/eac/ho_1986.267.361.htm
Summer Mountains [hand scroll]. (October 2006). Figure 2: Retrieved on April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.1.htm
The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to Mount Tai, [hand scroll]. (October 2008). Figure 8: Retrieved April 30, 2010 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at
http://www.metmuseum.org/toah/ho/09/eac/ho_1979.5.htm
The print of art is a Hiroshige, Plum Garden at Kameido, 1857, woodblock print. The print shows a calm and peaceful color of a regular day. The background consists of wash colors like reddish-pink that fades into white, and transfers once more in a green hue of the greenish ground. The image is showing a view of a several plum trees, with the stems, the flower, and the people on the other side of the fence. This work has a light pink background symbolizing the sunset and warm colors of the spring. The middle ground in the light white color shows the piece where there are people on the other side of the fence and appears to be walking around the garden or going throughout their daily business. The middle ground also has a view of several plum trees, which all of them seem to be inside of the fence. The focal point of the piece is the main plum tree with its branches swinging from the left at a sharp angle and moving to the right.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
This is an image that I think of when I consider Japanese culture. They love gardens like this and you see similar images often when considering their culture. It is difficult to tell for sure, but the people in the distance appear to be dressed up. It is as though they have put on their best clothes to step out and enjoy this relaxing setting. I believe that this print is successful at capturing a moment in the mid 1800’s very well. It causes me to sense and experience what the artist was trying to capture. This print seems to conform to the formal theory of art. The print has only images of each object. None of them are particularly detailed or real to life but they do a very good job of organizing and describing the basic elements of the scene. It uses similar colors, shapes, and lines to those one might find in this garden in
Gardner, Helen, and Richard G. Tansey. Gardner's Art through the Ages. Fort Worth, TX: Harcourt Brace College, 1996. Print.
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This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
Stokstad, M., & Cothren, M. W. (2008). Art history: Volume 1 (4th ed.). Upper Saddle River, N.J: Pearson Prentice Hall. Print.
University of Virginia, VA: National Art Education Association, 1992. Print. Gilbert, Jonathan P and Rachel Mills. Michelin Green Guide California.7 ed.
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
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.
Stokstad, Marilyn and David Cateforis. Art History. 2nd ed. Vol. 2. Trenton: Prentice Hall, 2002.
Crash Course in Art History from Prehistoric to Post-modern. Kansas City: Andrews and McMeel, 1992.
Davies, Penelope J.E, et al. Janson’s History of Art Eighth Edition Volume 1. Upper Saddle River: Laurence King Publishing ltd, London. 2011. Print.
Lewis, R., & Lewis, S. (2008). The Power of Art. Connecticut, United States: Cengage Learning.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.