Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essay on Abstract Art
Abstract art meaning
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Georgia O’Keeffe, an American modernist born in Sun Prairie, Wisconsin, often formed abstract paintings consuming beautiful natural forms of nature. This oil on canvas painting, completed in 1927 was one of her many famous pieces. In “Poppy” she consumes the entire canvas with indulgent, fluctuated, structures completed with inflorescent reds and blacks. The use of negative space leaves the impression that this particular form is floating in an undefined space, However, the use of these forms evoke but never fully describe the natural forms of a poppy.
When examining “Poppy”, 1927 by Georgia O’Keeffe (1887-1986). This Oil on canvas painting explores the dimensions’ and values of the bright beautiful herbaceous plant. Georgia O’Keeffe distended this picture to capture the attention of luminous red petals exposing the dim velvety center. O’Keeffe adds a undefined off white background with a blue accent streaming along the edge of the top of the textured petal in hopes of emphasizing the poppy and bringing the attention to the lively blossom that is centering the canvas.
…show more content…
O’Keeffe glorifies a single papaver somniferm or “poppy” by broadening the image and leaving very little Negative space. She defines the lines of her image and portions out the poppy using different shades of red melting down to a dark center. Georgia O’Keeffe enhances the curves of the petals through different hues and emphasizes the flower by leaving very little negative space at the top of the canvas. O’Keeffe uses an off-white background followed by a light blue color running along part of the flower in which emphasizes along with magnifies her main
Marigolds “Marigolds,” written by the author Eugenia W. Collier, begins with the main character, Elizabeth. The story is told in first person, being told by Elizabeth when she gets older. “Marigolds” takes place in Maryland during the Depression. The reader can tell it is the time of the Depression because in the story it says, “The Depression that gripped the nation was no new thing to us, for the black workers of rural Maryland had always been depressed.” Both the setting and time in this short story are important.
There were many of artists and writers, who demonstrated symbolism and imagery within their work of art, set in nineteenth century New Mexico. Willa Cather and Georgia O’Keeffe were best known as an author and an artist in the nineteenth century. Willa Cather had a long memorable career writing novels, short stories, poems, and essay, and contributing to any newspapers, editor, and journals as writer. She travels at length to gather material for her narrative and characters, and was recognizable with and respect by many other popular writers in the nineteenth century. In one of her novel, “Death Comes for The Archbishop”, Willa Cather demonstrates her unique ability to show remarkably compound landscapes within delightfully expressive writing. She brilliantly includes symbolism and imagery to express lowest point of emotions that are generally applicable, while artfully portraying the victories or failures of her characters. Georgia O'Keeffe spending most of her summer in New Mexico, delighted by the desolate landscape and extensive atmosphere of the desert, would explore the subject of animal bones in her paintings while she in New Mexico. The flowers, she painted the bones puffed up and captured the stillness and isolation of them, while expressing a sense of beauty that lies within the desert. She explored the symbolize and imagery in her magnified paintings of flowers that attract people emotionally, although her purpose was to express that nature in all its beauty was as powerful as the extensive of the period. As an author, Willa Cather demonstrated a history of New Mexico through her writing. As an artist, Georgia O’Keeffe was using paint and canvas to verify the loveliness scene of New Mexico. Even though, Willa Cather and...
Lehner, Ernst, and Johanna Lehner. Folklore and Symbolism of Flowers, Plants and Trees. New York: Tudor. 1960
Looking at landscape art, especially when painted by one of the masters, many have undoubtedly pondered: what would it be like to live there? Shapes and attention to detail are, of course, important in a painting. However, it is color that draws the eye and inspires the heart. Oscar Wilde, an Irish poet and dramatist, spoke well of this when he noted that, “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways. (qtd in “color”)”. Vincent Ward had a similar understanding of this impact when, in 1998, he directed the movie What Dreams May Come. Looking at this film, one can easily imagine being inside a living painting. The use of color to emphasize the emotional state of a character or event is common in films; nevertheless, Director Ward goes even farther in using color to represent the actual characters themselves. Red is the shade chosen to signify Annie and likewise, blue is used for Chris. Both of these, as will be shown, are accurate in defining these fictitious people. However, it is the profound use of purple in this film that is the true focal point. When mixing red and blue paint, one would find that, after being mixed, they cannot be separated. Likewise, this is true of the life and love these characters build and share. Purple represents the many ways in which Chris and Annie are melded, and joined.
Although imagery and symbolism does little to help prepare an expected ending in “The Flowers” by Alice Walker, setting is the singular element that clearly reasons out an ending that correlates with the predominant theme of how innocence disappears as a result of facing a grim realism from the cruel world. Despite the joyous atmosphere of an apparently beautiful world of abundant corn and cotton, death and hatred lies on in the woods just beyond the sharecropper cabin. Myop’s flowers are laid down as she blooms into maturity in the face of her fallen kinsman, and the life of summer dies along with her innocence. Grim realism has never been so cruel to the innocent children.
Physical elements such as composition, position of figures in space, brush work, color, viewpoint, and surface treatment all contribute to this separation of similar subject matter. The composition of The Weeders is un cropped, fairly balanced and symmetrical. The foreground is bold, the middle ground is expansive and the back ground strong and deep. Our view is that of perhaps a weeder on the field. Homer’s Carnival is cropped and less symmetrical with figures emerging from off the canvas. Less emphasis is placed on use of foreground, in turn creating less depth. Breton’s figures hold much movement and expression, women working the field are crouched close to the viewer. Farther back a woman stands alone, basket full, gaze and body positioned toward the setting sun. The women weeding are bent and tired.
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
Through the exploration of Modernism as viewed by Charles Harrison and Clement Greenberg, the work Still-Life with Apples and Oranges (c.1899), by Paul Cézanne is identified within the framework of Impressionism. Through the characteristics of the Impressionist art movement and the artist himself, it is evident that the painting is thus a Modernist artwork through its reaction to classical theories of the Old Masters and the experimentation of the avant-garde as well as its parallels with the notions of the Modernists.
The primary focus of this exhibition is Archibald J. Motley’s Mending Socks, an oil painting created in 1924 currently located at the Ackland Art Museum. Depicting Motley’s grandmother across a 43.875 x 40 inches (111.4 x 101.6 cm) frame, Mending Socks provokes a sense of familiarity and comfort in its soothing imagery. Motley’s grandmother appears as the off-center grounding point of the piece, providing a strong, soothing, and familiar image of a relaxed family setting. Behind her, however, are subtle reminders or white power.
Kleiner, F.S., Mamiya, C.J., Tansey, R.G. (2001) Gardeners Art Through the Ages. Eleventh Edition, Harcourt College Publishers, Orlando, USA.
Boxed in by her notions, she turns to a man to be her "dandelion"(4) amongst a field of grass. Here dandelion is a symbol for identity. Dandelion is very vibrant and can be seen from a distance amongst the grass. Sadly in line thr...
Similar to many of the van Gogh’s paintings completed close to the end of his life, Vincent van Gogh's Wheat Field with Crows is a representational painting depicting nature around him. This piece is showing the wheat fields surrounding the graveyard of the Church in Auvers-sur-Oise - the graveyard where both van Gogh and his brother, Theo, were buried. The artist shows his interpretation of the wheat field on a stormy day, with three paths converging in the center of the painting's foreground. The center path disappears into the distance with an “abrupt termination” on its way to the horizon, creating a true sense of depth, while the other two ...
Trans. By Donald Richie. Yale University Press, 1972. Kincaid, Mrs. Paul, Japanese Garden and Floral Art. New York: Hearthside Press, Inc., 1966.
The Spiritual in Art : Abstract Painting 1895 – 1985 (New York: Los Angeles County Museum of Art/Abbeville Press, 1985)
Like many of Van Gogh’s paintings, Olive Trees commences as a landscape and expands into a complex work, disclosing influences from other times and places. Using the color theory and separated brushstrokes of the Impressionists, the movement and vivid colors of the Romantics, and lighting and composition inspired by Millet, Van Gogh achieves the potency and significance that characterizes his work. Van Gogh’s paintings can’t possibly be mistaken for those of another artist of his time because, despite the fact that all of his means have criterion, his end results do not.