For over 60 years, David Hockney has taken the art world by storm. As a painter, draftsman, printmaker, stage designer, and a photographer, Hockney uses a variety of mediums to express different emotions (Pop Art in the UK). Hockney is considered one of the most influential artist in the 20 century, a living legend. Hockney is well known for his photo collages and paintings of Los Angeles swimming pools. He is also known for his use of bold colors that contrast each other, demanding that his work be looked at. This infamous pop artist breaks away from tradition challenging ideas such as porportation, linear perspective, and color theory. David Hockney was born in 1937 in Bradford, England. As a kid, Hockney enjoyed reading books and was interested …show more content…
I would view 82 Portraits and 1 Still Life. There was buzz around town and around LACMA about the new David Hockney exhibit. People from all ages talked with enthusiasm and eagerness to view work from a living legend. Although I didn't know much about Hockney, his name and reputation is what made me curious about this exhibit. Yet I wasn't really ready for what I would view. In a large room, red walls with blue canvas’ filled the room. 82 different people sat in chairs. Each with a different story, the lineup of people cross different races, classes, and cultures. Even though each person sat in the same chair, each image was different. Hockney set on offering an intimate view of his relationships that he had developed over the last 50 years(museum wall plaque). I was drawn first to the red walls. I had never seen an art exhibit in which the walls were any color other than white. But then again, this was Hockney. Hockney is known for his use of color. Side by side, the images were placed. Not one was bigger or smaller than the other. Everyone’s was important. Above each painting, Hockney included the names of his friends and the how long it took him to complete each painting. Roughly each painting took 2 to 3 days to complete. LACMA’s Senior Curator Stephanie Barron had the opportunity to be one of Hockney’s subjects in this exhibit. In an article that Barron wrote titled “A Sitter’s …show more content…
Alongside the mural is a sitting area and a short video of Hockney. In the video, Hockney talks about his thought process and want for an intimate setting. Hockney wanted his audience to feel his relationships and the meaning of each and every one of them through the use of color. The photo mural titled In The Studio, depicts Hockney positioning himself in the center of his Hollywood Hills studio. On Hockney’s left side is a bright yellow chair in which his 82 Portraits subjects sat(museum wall plaque). Hockney shows you behind the scenes of where the portraits in the other room were made. This mural reminds me of Richard Hamilton’s Just what is it that makes today’s homes so different, so appealing? because of their similar random placing of items. Like Hockney, Hamilton is a pop artist. Hamilton placed items that had importance either to him or to the world in his collage. In his mural, Hockney placed items that had meaning to him. In the mural, Hockney is surrounded by his most recent series of artwork of hexagonal canvases that shows extensive ways of showing space (museum wall plaque). I first noticed Hockney’s painting of The Annunciation and then as I scanned the room I saw a variety of paintings of Los Angeles. All of the paintings in the mural were filled with bright colors. Hockney used “reverse perspective” showing a variety of viewpoints instead of a traditional single
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
Humanity has faced the challenge of placing a definition on the ever so abstract concept of art since the beginning of the Renaissance. The ongoing dispute between art critics and aesthetic philosophers has generated the creation of numerous textual and pictorial compositions in regards to varying views on the idea of art. To translate a scene of a room and a bed onto a large canvas should not be considered true art. Early art philosophers struggled between perceiving art as an inspiration or a true knowledge. Andrew Wyeth’s watercolor, Master Bedroom, seems to just be an imitation of a real master bedroom instead of a true work of art. The piece deserves the least amount of appreciation because of its lack of originality, creativity, and
In the painting, Spencer depicts a domestic scene with warm atmosphere by using the color of red. The wallpaper screen, tablecloth, foot stool, and tassel are all painted in red color. By using red for the background of the painting, a sense of peace, vitality and power are emerged. In term of composition, the painting is small in composition with only a portion of the dining room shown, which give a sense of coziness. The feeling of harmony and coziness in the domestic household is in contrast with the cold atmosphere at work place outside the household. It is one reason why the sentimental arts became popular in American society during antebellum
The influence Perry has taken from William Hogarth and the religious paintings is an effort to contextualize his work. Understanding where Perry derives his influence makes the work much richer and assessable for doing so. In my own practice, I am just becoming aware of how important it is to research and allow myself and my work to be influenced by other artists.
During my trip to the Art Gallery of Ontario, I found there to be one painting that surely stood out and made an unique impression on me, it was certainly a painting unlike the rest of the in the gallery. When my eyes met those of the portrait of Dr. Heinrich by Otto Dix, I was deeply intrigued and found myself to be drawn to the piece and inspecting it the longest out of the all the options of paintings that I saw at the AGO.
Andy Warhol was one of the most famous and successful graphic artists in the last century. His iconic paintings and prints are still remembered and noted today. If you see a brightly colored illustration of a celebrity, who do you think of? Andy Warhol, who was known for his portraits and product-based art work. Even looking at something as simple as a Campbell’s Soup can can trigger the thought of the 60’s artist.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
Painted by Vincent Van Gogh during a final burst of activity in Auvers before his suicide in July, Houses at Auvers features many of the characteristic elements typical of Van Gogh; the experimentation with color, texture, and thick brush strokes. This painting depicts the view and landscape in early summer, highlighting the patchwork of houses and the rolling greenery. Van Gogh’s unique, thick brush strokes lead the eyes through the painting, create texture and patterns and also highlight and shadow objects in the early summer sun, while his experimentation with color creates contrast and a bright, vibrant image.
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
In this piece Benny has depicted himself in the artwork creating another piece of artwork. He is standing at a 45° angle as if he has been interrupted by us, the viewer. This is how Benny engages us, the viewer into his painting. As if we are just as much a part of it as he is. When looking at his painting from a distance it seems as if it is just another oil painting but upon closer observation you can clearly see the different fabrics that he uses to create the collage and which gives the painting its textures. He shows space in the painting by leaving the wall on which the canvas hangs, bare, as is the floor with the exception of the box of rags that he uses in his collage.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
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.
"Portrait of a Man (Self Portrait?)." Jan Van Eyck. N.p., n.d. Web. 20 Apr. 2014.
Symbolism is Gordon Bennett’s way of expressing his opinions and beliefs into his artwork so people can achieve a deeper understanding of his life and struggles with identity. The marble-like heads on the bed represent modern art and how the indigenous community is repressed from it. Their eyes are closed and their mouths are shut which symbolise the deafness and muteness of the indigenous community when relating to modern art as it is seldom seen. The open window in the artwork is a representation of Bennett’s need to escape from this harsh reality that suppresses his community and background and the knocked over chair emphasises the urgency to do this. Bennett’s painting depicts the figure of a headless Aboriginal man that has an animated presence. A gush of blood red paint shoots into the sky from his body and bloody handprints are stamped across the walls all to represent his repressed indigenous heritage making the artwork a very personal piece. Bennett
The. Theories of Contemporary Art. Englewood Cliffs: Prentice-Hall, 1985. Kotz, Mary Lynn. Rauschenberg/Art and Life. New York: