More handpicked essays just for you.
Portraiture in the Renaissance topic
How did Andy Warhol influence the art world
Portraiture in the Renaissance topic
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Cimabue’s Madonna Enthroned and Andy Warhol's Gold Marilyn share several visual attributes. While observing the works beside each other the viewer can locate multiple similarities, but in order to understand these works we must picture them separately first in order to then link the reasons for these overlaps in depiction. While also the pointing out the differences that show the uniqueness of the artist's hand and the era in which they were created. Both works depict the image of a woman with a gold background, yet with this over simplified assertion, one must add that these women depicted hold large influence and significance for the era they represent. For Gold Marilyn Warhol looked back at Cimabue’s Madonna Enthroned to parallel elements such as the feel of opulence and nobility, a flat but meaningful composition, and the depiction of a vastly represented public persona, …show more content…
in order to glorify Marilyn Monroe. To begin, Madonna Enthroned portrays a woman in the center of a composition of multiple figures sitting on a lavish and embellished gold throne. Evenly divided on both sides of the throne eight angels stand admiringly. Madonna or Virgin Mary sits mightily and in larger scale despite the fact that she is covered head to toe in detailed draped blue and red robes Madonna’s face is clearly visible; angled down and to the side, but with a direct eye line towards the observer. Holding out her hand to her child, who sits a strange sitting up position and a smaller halo than his mothers. As one looks down to the bottom of the altarpiece the last four figures are framed under three different architectural columns, two in the center and larger gap and two more figures on either side looking upwards, all of these figures are holding scripture in their hands portraying them as worshippers. This more than twelve foot tall panel is covered in its entirety with gold color, from the halo to the throne. This is a blatant link between the two masterpieces. Andy Warhol is obvious in his reference to Byzantine times by covering the size feet tall portrait in about 90 percent gold. The rectangular canvas washes the viewer in a sea of gold, but allows one shinning image to shine through, and that is a close up of Marilyn’s face. Much like Warhol’s world famous work, it has been screen printed with a mass-produced image in strange alien looking colors. Marilyn’s skin is a bright hue of pink, mustard yellow hair color; along with her bright turquoise eye shadow and a dark red smile she is the epitome of a whole appropriated pop art image. Since the image has been pasted on the canvas there’s a rectangle around Marilyn’s face, and in a way that could represent a different version of a halo. Indeed there is a reason these artists chose to create a large size and gold color as described. These two attributes usually connote a feel of wealth and lavishness that is only befitting of a queen. These artists were also similar in influence, both trying new tactics in order to elevate and modernize the art. Cimabue was a figure of innovation in his time by being one of the first to attempt more lifelike proportions and spatial depth in his work to illustrate more natural looking compositions. The use of a large panel as the basis allows for the multiple characters in the depiction to appear accurate to human size. But naturalism is not the only reason for a large panel, but also because of the magnitude of importance and influence that is linked to both of these women. On the other hand, both images have a level of flatness that is clear at first sign. Despite Cimabue’s adept attempt at creating special depth his images remain standing directly behind one as if on steps instead of crowding and covering one another. While on the other hand Warhol does not even attempt to portray more than one image. He went straight to the point by positioning Marilyn’s face on it’s own with no background but gold. Yet both artists chose to represent the largely pivotal figure in the center, to show their hierarchy above all others. In the end, Cimabue and Warhol successfully tackled the representation of an inaugural figure in their respective times, women that were predominantly recognized by everyone and praised by the masses.
The inaugural artists of the Renaissance depicted myriad of portraits of Mary with her child; similarly, Marilyn was in every newspaper and television across the nation. Both Madonna and Marilyn were held in high praise as celebrities of their time, but with this celebrity came the illusion of a public persona. When thinking of these women beyond the canvas, it is clear that despite their fame and influence these women’s stories were their own and the public knew little about their actual stories. Much like Mary is a woman who is spoken about through religion that can be interpreted in different ways, not many people were close enough to Marilyn to know her personal life. The public’s appreciation of them becomes something that was out of their hand, and instead they are represented as holy and above the common person. For this reason, even after their deaths they are commemorated as
heroes. All in all, Warhol adeptly takes from his predecessor Cimabue in elevating Marilyn as religious. He does so by using artistic tactics that hold a formidable amount of meaning and semiotics to public viewership. While also commemorating a figure that has played a large role in shaping society and the power of women. In a way Warhol figuratively enthrones Marilyn with his Gold Marilyn, making a powerful visual parallel to Cimabue’s Madonna Enthroned and erecting a new form of altarpiece with undeniable value and significance.
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
They did not challenge gender norms or ideals. Nor did they aim to usurp the position of the man. Rather, they supported the overarching mentality that women were to be submissive, strive to fulfill the needs and wants of men, and aim to please their male counterparts. (Kallen) Importantly, none of these women or representations of women exhibited any physical attributes that the dominant culture would view as masculine. Instead, they all displayed quintessential feminine characteristics and traits. Moreover, they were not valued for their brains or accomplishments; they were judged solely based on the degree to which they conformed to the male-dictated status quo. Marilyn Monroe and other sex icons of the 1950s were portrayed as dim-witted, naïve, childlike, and vulnerable, which was the polar opposite of society’s picture of the strong, smart, witty, and brave male. There was nothing about these women that challenged male superiority or threatened the overarching worldview that it was a ‘man’s world’ and women’s purpose was to make this world more enjoyable for the men who ruled it. (Meyerowitz
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
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.
Marilyn Monroe was liked by many, society liked her for the sheer fact that she never portrayed herself as famous, but as a human. She was the epiphany of Hollywoods misguided. She created this noble character that people admired, they also admired her f...
The image has a huge effect in society. A celebrity’s image can characterize, shape and circulate societal myths in Hollywood. Marilyn Monroe was an American actress, singer, and model. People think her figure and beauty make her become a popular icon and sex symbol in the 1950s. When people talk about the name of Marilyn Monroe, a blonde beautiful sexy female's image will appear in people's minds. What has the beauty standard shown us through Marilyn Monroe in the mid-20th century? Besides the beauty what other things did she need in order for her to be famous at that time? Marilyn Monroe's status as a sex symbol has influenced many artists since her time, even though the beauty standard has been different since then. If we look at the celebrities today, we can find many imitators of Marilyn Monroe: Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. They do this not only because of marketing and media needs, but also because people today still “worship” the image Monroe created. A half-century has passed since Marilyn Monroe's death, so why is she still relevant today? As time has passed, Marilyn Monroe's image is becoming even more meaningful and valuable. Think about the image she has created, the main point I want to study is: how does a woman who passed away at thirty-six years old, after starring in only a handful of movies, has such on the impact on women, especially young women, in the 21st century? To find the answer of how she has an impact on young women today will also show how some of the young celebrities today became successful.
... though employing a familiar subject (the female form), shows the transformation from busy mosaics with gold embellishments to a brighter palate of colors and the use of stronger, bolder lines. The piece exemplifies his versatility as an artist.
In order to familiarise myself with the above topic, I have invested much time reading vast selection of the portraiture art themes with aim to get acquainted with the knowledge and the language used in this particular subject. It was very challenging and entertaining to read comprehensive range of various critiques and analysis of the world best paintings stretching from ancient classic to contemporary western image. Developing understanding of the diverse art expressions and social and political influences tha...
Despite that, Madonna and Callas’s public reputations are far apart.√ good Callas was considered a tragic woman during the height and end of her fame,; her image was of a fragile woman and she was seen as ‘mirroring in her life aspects’ (Phillip,, R,. 2008, p.175) when she performed on stage. Operatic roles within the twentieth century are mostly heart-breaking, where ‘almost all of the characters die, on stage or just off it, through suicide or murder’ (Phillip, R,. 2008, p. 175) and these characters were Callas’s speciality, giving her a feeble image. In contrast, Madonna is considered a ‘bankable image, carefully and continually constructed in an era of media globalisation’ (Nick Jones, 2008, p. 168), and greatly known as a ‘Pop Queen’ who relies on the public for her reputation by continually conforming to society styles to increase her performances, sales and reputation. √ good observation. Perhaps emphasise the fact that in comparison to Callas, Madonna can be seen as very much in control. She’s not a victim.
Madonna had always been a holy icon until the early 1980’s when the name “Madonna” developed a dual connotation. The introduction of America’s top female sex symbol Madonna created an image far opposite of the previously known hallowed one. In John Fiske’s essay “Madonna,” he depicts the singer’s character, portraying her as socially and semiotically powerful. Although his essay is currently outdated, Fiske illustrates an illusion of Madonna that Generation Xers eventually accepted and will probably never forget.