Modern Art of Hope, II
Gustav Klimt, who was the symbolism artist, painted Hope, II on canvas in 1907-1908 using oil paint, gold, and platinum. It’s 43 1/2 x 43 1/2” (110.5 x 110.5 cm) in size. The painting is part of the collection of the Museum of Modern Art, New York. It is in the Painting and Sculpture I, Gallery 4, Floor 5. Klimt chose a nude pregnant woman with the unborn child and three women in the painting because he wanted people to analyze and feel his artwork. Therefore, Klimt’s symbolic is working with color tone, representative characters, and the image of the painting are influential to people’s feelings in Hope, II.
The color tonality is important to show Klimt’s symbolism in the painting with a varied color scheme and shapes.
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The huge ugly colors in green with splashes of gold in the background. Also, it is a lot of space on the canvas. This detail illustrates the use of flat color strokes lending a textural effect which blended color in continuous tone. The background of colors meaning is natural, growth, faith, harmony, and relaxation in the environment. The gold shows the emphasis and draws interest. Additionally, the label on the wall next Hope, II says, “The ornate decoration in Hope, II nearly overwhelms its surface. Klimt was committed to craftwork, and was among the many artists of his time who combined archaic traditions—here Byzantine gold leaf painting—with a modern psychological subject.” Klimt wanted to do something that is unique. The circles, triangles, and swirls on the robe cover the pregnant woman and three women. These colors in the shapes are strong tone because the gold patterned robe as ‘clothes in Russian icons’ on the label is a contrast with beautiful tone colors, although the shape pregnant woman’s skin breasts displays rounded and dimensional. Therefore, Klimt’s colors, tonality, and shapes in the robe are affected our perception of the women’s symbols and emotions during the naked woman with the unborn child. The three women are praying for the pregnant woman on the canvas.
Klimt commonly painted of females in the collection. The label says, “Although images of women and children are frequent in the history of art, depictions of pregnancy are rare.” Klimt liked to put a pregnant model on the canvas, that is a different form than the old classic. Moreover, all of the women are flat without shadows or three dimensions because the gold and colors in decorative are lots of details. The robe of the pregnant woman is too long and draped over the three women. When she looked down at the child’s skull on her stomach and closed her eyes, the image symbolizes death in the womb. Below, three young women are deeply prayerful with their hands and weeping for the mother and her child in the risk situation. They hope that if the child dies unborn will not influence the mother to get a sick or death, too. The mother is sad in her heart that maybe her baby is lost. Therefore, the characters representing a pregnant woman and the three sobbing women are praying for their hope on the canvas and that symbol is life or …show more content…
death. The image of the painting is influential to people’s emotion in Hope II. In the Museum of Modern Art, people are staring at that canvas carefully to see the details in the painting. They are thinking about the poor mother with a child’s skull, meaning her womb is developing to stop and in danger her life. However, the art guides them to an ideal realm, the only place where they will be able to find pure joy, pure happiness, and pure love because the women in the painting seem to have faith that pregnancy becomes an achievement. The three women are the symbol of angels from paradise. Joy gave by divine sparkles from the gold. Furthermore, Klimt was mostly the influenced by Japanese art style because he wanted to do something that is traditionally different. Thus, people in at MoMA learned about Klimt’s artwork and the images inspired people’s feeling and thoughts of the women, to try to avoid dangerous situations. All in all, Austrian Symbolist painter Gustav Klimt created Hope, II, that is significant to work with color tonality to emphasize the characters and decorations, which is influential to people’s feelings in Hope, II.
Klimt’s goal is painting in the natural environmental and drawing interest to a half of naked pregnant woman while beautifying the scene with various of colors, and shapes in a long robe with her unborn child’s skull on her stomach. Below, the weeping women in the cover of a robe are deeply prayerful for their hope because the mother and her womb can put their life at risk. Finally, Klimt was feeling pleasure for his artwork because he studied the painting of Japanese art, Byzantine gold leaf painting. Overall, this gives viewers an understanding of the mother has a baby in her belly and a small skull on her stomach, which symbol is life or death because the three young women are praying for both the mother and a baby to become hopefully
healthy.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
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.
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...
The Madonna and Child, created by Cenni di Francesco di Ser Cenni between 1410 and 1415, is an iconographic painting of the Virgin Mary (left) and a chubby baby Jesus (right). The panel is painted with tempera and the halos around Mary’s and Jesus’s heads are made from goldleaf. La Toilette, painted by Richard Miller in 1910, is an Impressionist painting of a woman putting on her make up. He uses this subject to compare putting on makeup to applying oil paint on a canvas. In order to create the desired impact on the viewer of their paintings, Cenni and Miller use similar stylistic techniques to portray their female subjects.
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
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,
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The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
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