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Art therapy in mental health essay
Art therapy in mental health essay
Art therapy in mental health essay
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Introduction
How did Edvard Munch perceive anxiety?
Edvard Munch, a famous world known painter from Norway, was able to express his suppressed feelings of fear and anxiety onto a canvas with an ability that both amazed and scared the people of the world. He used his anxiety of life, love and death, to inspire people, and let them see the troubles in his life. Edvard Munch is especially known for his works ‘The scream’ and ‘Madonna’.
Munch popularity is due to his extraordinary ability to convey a deep and raw emotion from the unconscious onto the canvas leaving it to the viewers to interpret, feel and reflect. He stood out from other artists of his time, as he varied away from the norms and focused on the feelings and state of the work, rather than details and perfection. Anxiety evolved as the main point of Munch art. This essay goes through Edvard Munch’s childhood focusing on the events that caused him anxiety, how the anxiety affected his relationship with women and love, and how his idea of anxiety was supported by the theories of Søren Kierkegaard. These elements act as a support of an analysis of three of his works ‘Evening on Karl Johan’, ‘Melancholy’ and ‘The woman in three stages’. This essay should be seen as a work within the subject Visual Arts as it analyses three works of Munch focusing on anxiety. The analysis will contain an analysis of the form, content and context of each of the works. Having experienced the Edvard Munch: Angst/Anxiety exhibition at AROS Museum of Art in Aarhus, Denmark, I found and developed curiosity and inspiration to this essay. I find it worthy of a study as Munch changed the view and concept of art, and provided the public with a concept of art that was not the norm around the 19th centu...
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As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food and the starving-to-death children at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were prepared to emulate and capture what her eyes had seen while she was in Germany and this is why I had taken a likening to her drawings. The two artworks that I am specifying in this research paper is the drawing labeled “Germany's children starve!” and”Self-Portrait, Hand at the Forehead (Selbstbildnis mit der Hand an der Stirn)”.
Edgar Allan Poe is known to observe humans reaction to… Both Poe, in his short stories “The Fall of the house of Usher”, and Bierce, in his short story “One of the Missing”, expose their characters to fear.
By the age of 27, van Gogh had been in turn a salesman in an art gallery, a French tutor, a theological student, and an evangelist among the miners at Wasmes in Belgium. Vincent felt a strong emotional attachment to the miners. He sympathized with their dreadful working conditions and did his best, as their spiritual leader, to ease the burden of their lives. These early works evidence were dark and serious, sometimes crude. Unfortunately, this unselfish desire would reach somewhat obsessive proportio...
3 March 2011. Charles Daniel Frey Company, Inc. Advertisement. The. Google.com. n.d. - a.k. Web.
In Mary Shelley’s novel, Frankenstein, she exercises this movement by painting artistic and literary illustrations of how Victor, as well as the Monster lives through seasonal and surrounding areas. Shelley shows the complex emotional state found in Victor and the Monster.
As Edgar Allan Poe wrote, "The Fall of the House of Usher", he uses characterization, and imagery to depict fear, terror, and darkness on the human mind.
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
In an empty room at the Timken Museum of Art hangs one of the most iconic paintings of Johannes Vermeer, the astonishing painting, Woman in Blue Reading a Letter. In the painting a pale woman’s stands patiently while reading a letter. The woman appears to be wearing a blue jacket and a long gray skirt, and only gazing at the letter, ignoring all of her surroundings. The top right of the painting seems to be a map of the Netherlands, which attracts the viewer because it explains the setting of where the painting took place. The blue jacket around the woman’s torso appears to exaggerate the woman’s stomach, giving the impression that she might be pregnant. The blue chairs resemble a sign of absence as if she lives alone. The light on the top left shines on her face which enhances the viewer’s view of the woman’s facial expression. Johannes Vermeer’s interpretation of complex colors, the light, and her body language inflicts a persuasion on the viewer that the women is traumatized by the news in the letter.
Since the 7th grade, I have been a huge fan of the famous French-inspired realist and expressionist, Edvard Munch. His work is so full of passion and pain as well as shock and sadness. By gazing into the gloriously deep world of emotion he created, art lovers both young and old are amazed and drawn in.
Edgar Allan Poe is one of the most influential writers of the horror genre in American history. His horror stories have impacted numerous authors and their stories over the years. Various people have tried to copy his way of writing style, but they have failed to achieve the success he did. Even though Poe is no longer living, his impact on American literature can still be felt today.
A sense of consistently lingering depression hangs in the Artist’s perspective and opinions about himself. According to critical reviewers like Jim Breslin, the Hunger artist’s disposition of depression is partly caused by his inability to progress further in his art. Breslin connects this sense with that of a writer, “Kafka is equating the suffering in starving to the suffering a writer undertakes in crafting a story” (Breslin). However, though this sense of striving to break one’s own artistic limits is apparent, the story delves further than even this. After realizing that there’s no way to fully legitimize his art, the hunger artist’s “dissatisfaction kept gnawing at his insides all the time” (Kafka 8). The dissatisfaction of the artist does not only constitute a likeness to art; it describes an undeniable truth of all of humanity: that we are our own worst critics. Individuals consistently tell themselves to go further when they have reached limits acceptable to the public.
In The Concept of Anxiety, S�ren Kierkegaard deals with human anxiety about the possibility posed by freedom as it relates to sinfulness and spiritual progress. This paper will show that Kierkegaard?s concept of the moment and his prescription for inwardness, both in the context of spirituality, are connected. Importantly, inwardness depends on the moment and the possibility of transition that does not take place in time, transition that seems sudden if spotted from a temporal perspective. First, this paper will make sense of Kierkegaard?s concepts of time, eternity, and the moment, which will be an interpretation taken from his discussion at the first part of chapter three. Second, it will explain what his concept of inwardness is and what it means for human life, which will be based on text from chapter four, section two, subsection two (?Freedom Lost Pneumatically?). Finally, it will use those points to explain the connection between the moment and inwardness and then point out the importance of that connection.
Edvard Munch had been through a lot of trauma, hurt and heartbreak in his life and his art work and painting. helped him to express his feelings. I am going to be analysing and studying the painting “The Scream”. Edvard Munch was an Impressionist painter. Expressionism is movement in the arts during the early part of the 20th century that emphasized subjective expression of the artist's inner experience.... ...
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.