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Importance of dance in education
Importance of dance in education
Importance of dance in education
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Edgar Degas’ The Ballet Class
Edgar Degas was a wealthy impressionist painter who lived in Paris, France from 1831 to 1917. Degas studied at the École des Beaux-Arts and sometimes visited the Louvre museum often to look at the artworks of professionals. Before he died, he had a total of 1165 works, more than half of which depicted dancers. According to The Met Museum, “Degas helped to organize the first Impressionist exhibition in 1874 and participated in six of their eight exhibitions, but remained always independent in character and rarely worked out-of-doors.”. Degas’ The Ballet Class or, La Clase de Danse, was an oil painting on canvas that he worked on from 1871 to 1874. The Ballet Class was commissioned by a man named Jean-Baptiste Faure. The way Degas crops the painting gives it the feeling of a snapshot. According to The Encyclopedia of Art, Degas’ The Ballet Class is, “Regarded as one of
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The repeated figures of the dancers and the three main shapes/columns on the the wall behind the figures that are much darker help unify the artwork. The similar tones in the ceiling and the floorboards also help unify his composition.
Some colors and tones are repeated in Degas’ artwork as well. The color of the flower in the most prominent dancers hair is repeated the the fan she is holding. The greenish color in the girl’s bow is repeated on another dancer’s sash and there is even a similar green on the wall behind them which also helps unify the composition. All of the dancers dresses are the same color.
The three different colored sashes in the dancer’s dresses and the staff shaped object on the far left of the painting provide some variety to the composition. There is a heavy contrast where the three main dark points on the wall behind the figures are and on the form in the bottom left corner on which one of the figures is
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
Another feature in his works was simplicity. For example, in 1977, in one of his productions called ‘Curious Schools of Theatrical Dancing: Part 1.’ This is reflected in costume, props and choice of music. He did not use any props but the production was effective in the choice of costume being a simple black and white unitard with big stripes going diagonally over his body. In this p...
The black background contrast with the predominate colors of blue and red gives these colors intensity. The red and green are complementary colors that give the painting visual appeal. The green juxtapose above the blue and red gives the artwork color balance as well as implies a triangular shape. The triangular shape and pattern is repeated throughout the painting by; the bend of the flute player's elbow, the head and shoulders of the guitar player, the head and shoulders of the lady whose back is to the viewer, the body of the guitars and the location of the three right-most musicians
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The colors used in this painting are a combination of bright and dark, giving a sense of professionalism and unconventional feel to the ambassadors and their backdrop. Their clothing is brittle and complete. The composition of this painting is mainly “stuffed” into the center column of the image with the ambassadors substituting walls marking the end of the items in the composition as well as forming an area that our eyes are tensed
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...
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Furthermore, resonation can be found in Preziosi exploration of the establishment of female identification through aesthetics. Within Preziosi chapter on aesthetics he addresses main issues including “Kant’s Critique of Judgment, judgment about beauty, and perception of perfection.” Aesthetics was addressed in the perception of how the female body is formed and encased while a male looks at the female body. In this case the male would be Degas gazing at his ballerina while either sketching his model or doing a sculpture of the ballerina. Preziosi states that “there should be two kinds of theory or sciences of knowledge corresponding to each logic and aesthetics.” This concept of two kinds of theory made more apparent as every sculptor Degas made is presented as a different theory, yet the two theories are different, Degas’s artwork deals with both logic and aesthetics. Logic can be applied to Degas’s____, works of art. Where as aesthetics deals with____. Later on in Preziosi chapter on aesthetics, he brings up the issue of “the idea that sensory knowledge could have its own perfection-and, further, that an aesthetic judgment about beauty or beautiful objects.” When viewing Degas’s sculptor the
In this paper I will discuss the print called The Green Violinist. This painting was created by Marc Chagall in the years of 1923 and 1924. It is quite a large painting since it is 78” tall and 42 ¾” wide. It is an oil on canvas painting. The main figure in the painting is a strange looking man playing a violin. He has green skin and a black beard. His face is painted at an odd angle. His facial features are contorted at various angles. He is holding his violin and bow in his hands. One hand is ungloved while the other is wearing a white glove. He is wearing a long purple top coat that reaches to the middle of his calves. He has on a purple cap as well. His feet do not appear to be touching the ground. He looks like he is standing on two rooftops. He appears to be larger than life, almost like he might exist in a dream. In the foreground there is what looks like a large dog with his feet on one of the roofs the violinist is standing on. There is a church top in between the two houses he is standing on. In the middle ground, just behind the man, is another much smaller man who appears to be holding another violin up by the tuning section of the violin. In the background are two more houses with clouds above and behind them. Another man is reaching up into the sky between these two houses towards a being in a purple jumpsuit that looks like he is floating or flying in the sky as the violinist plays. There is a man sitting on the ground hunched over on the backside of one of the houses as a man on a horse and buggy drive by. Only the horse is looking back toward the violinist.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
However neither of these artists would be as highly considered, as they are, if these were the only images in their works. Indeed, it is the ambiguity of these images that makes them so great. Picasso overlaid in Guernica the images of Harlequins. The largest is hidden behind the surface imagery and is crying a diamond tear for the victims of the bombing.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...