How Did Alex Janvier Influence The Artist

379 Words1 Page
bulb-icon

Recommended: Essay on art education

Alex Janvier was born on February 28th, 1935 in Alberta, Canada. From a young age, Alex had always shown an interest to art. At the age of 8, Alex was sent to an Indian Residential School where he spent the next 10 years of his life (NPC Magazine, May 12th, www.npcmagazine.ca/exhibitions/alex-janvier-the-cirlce-of-life-and-other-brillient-forms). Although it was hard at for him, because they forbade him from speaking his language, he had regular art classes every Friday to look forward to. As time progressed, so did his art. Soon enough, his principal noticed the talent he possessed and decided to arrange summer classes with a local artist named Carl Altenberg. Over time together, Carl decided to commission Janvier to create 3 paintings for the school chapel, (The Canadian Encyclopedia, May 12th, www.thecanadianencyclopedia.ca/en/article/alex-janvier/) This part of Janvier’s life helped shape the artist he is today. Without the help of Carl Altenberg to keep challenging and encouraging Alex to pursue his dreams, he undoubtly wouldn’t be the same artist he is today. …show more content…

After a year had passed, he had the wonderful opportunity to be involved with the advisory committee for the ‘Indians of Canada Pavilion’. He and aswell as a few other Aboriginal artists were in charge of selecting art, artifacts, text, and images for the pavilion. Out of all the artists, Alex was chosen to create an exterior mural (The Canadian Encyclopedia, May 12th,

Show More
Related

  • Requiem Of Grandeur Empire Visual Techniques

    725 Words  | 2 Pages

    Through the three pieces, the landscapes reflect a painting style is more often associated with European Romantic art, however, unlike the others, the central piece showcases the sky painted with miniscule dots, a technique common within Indigenous art (Lingard 2014, 44). However, the fact that the sky is the only piece of the composition painted with this technique and is placed in the background while more European inspired art and images are placed in the foreground is potentially symbolic of the marginalisation of Indigenous people and their culture in contemporary Australian society. Within Bennett’s own life, he was brought up without his Aboriginal heritage ever being spoken of, describing it himself as “overwhelming Euro-Australian” (McLean 1996, 20). Thus, within his artworks, a dotted circle at the top of each composition includes black footprints facing away from the circle, which matches his personal experience of Indigenous culture being ‘left behind’ in contemporary Australian society. The artist lived in a time where he was connected to a variety of Indigenous experiences including his own as well as the servitude of his mother, and thus through the combination of these varying art techniques, Bennett evokes both discord and further represents the marginalisation of Indigenous culture

    Read More

  • Analysis Of 'Greasy Grass Premonition' By David Paul Bradley

    578 Words  | 2 Pages

    Another example of how art represented in the Native North America exhibit is a painting by David Paul Bradley, a Chippewa artist, titled Greasy Grass Premonition #2. It depicts a scene from the Battle of Little Bighorn, but the tombstone explains that Native Americans know it as the Battle of Greasy Grass Creek. By providing that information for the audience, the MFA is allowing them a glimpse into the minds of Native Americans and their culture instead of presenting it as another example of Western bias.

    Read More

  • Analysis Of Alexis Rockman's Kapok Tree

    814 Words  | 2 Pages

    Alexis Rockman was born in 1962, in New York and subsequently grew up there his whole life. Throughout his childhood, Rockman very often frequented the American Museum of Natural History as well as traveled to Australia a number of times due to his stepfather being an Australian jazz musician. He developed a fond interest in natural history and science, as well as a liking for film, animation, and the arts. This fascination for history and science most likely stemmed from his mother’s occupation-working for anthropologist Margaret Mead. He painted his first mural, Evolution, in 1992 and his career soon flourished. His works primarily focus on nature and the natural world, whether that be though large scale murals or field drawings of animals and foliage. He currently lives in New York City and works out of a studio in the city’s Tribeca neighborhood.

    Read More

  • A Comparison Of The Academy By Kent Monkman

    797 Words  | 2 Pages

    The two pieces of art that I have chosen to compare reside in Toronto’s ‘Art Gallery of Ontario’. While the two pieces are very different in terms of artistic medium and period, the painting, “The Academy”, by Kent Monkman, makes direct reference to Auguste Rodin’s sculpture “Adam”. The sculpture is a giant bronze cast from 1881 inspired by Michealangelo’s “Creation of Adam” Ceiling Fresco in the Sistine Chapel. “The Academy” by Canadian painter, Kent Monkman was commissioned by the AGO in 2008. The piece was created as a visual commentary on the “injustices and oppression Aboriginal people have suffered” (Filgiano) However different they may appear to be, Kent Monkman ‘borrows’ the theme of Rodin’s “Adam” sculpture to create an analogy between Adam’s banishment from paradise and the Aboriginal’s loss of paradise through colonization.

    Read More

  • Indigenous Australian Artist Gordon Bennett

    701 Words  | 2 Pages

    Indigenous Australian artist Gordon Bennett re-contextualises the work of Colin McCahon by borrowing and transforming key visual features. Bennett’s work challenges the viewer and gives them an alternative perspective of the culture and identity of Indigenous Australians. The quote by The National Gallery of Victoria states, “Often describing his own practice of borrowing images as ‘quoting’, Bennett re-contextualises existing images to challenge the viewer to question and see alternative perspectives.” This quote is clear through analyzing the visual features as well as the meaning behind the work of Gordon Bennett’s appropriated artwork ‘Self-portrait (but I always wanted to be one of the good guys)’ (1990) and comparing it to Colin McCahon’s

    Read More

  • My Life Paragonned to the Women in the Asher Lev Books by Chaim Potok

    1800 Words  | 4 Pages

    Potok, Chaim. “Asher Lev, an artist is a person first.” Goodreads. N.p., n.d. Web. 3 May. 2014.

    Read More

  • Paul Duncm's Life and Study on the Impact of Technological Stimuli

    1124 Words  | 3 Pages

    Paul Duncum initially graduated college with a degree in graphic design in 1970, from Sydney Technical College. In 1974 he returned back to school and began work on his B.A. at the Flinders University of South Australia, in Art history and theory, which he completed in 1977. Duncum also received his graduate diploma from Adelaide College of Arts and Education in art education in 1979. According to the University of Illinois at Urbana Champaign, he then went back to Flinders University in 1981 to being working to get his P.h.d in Art Education. During this time he was also teaching high school art and design. (University of Illinois at Urbana Champaign, 2003) Paul Duncum then started his current career as a college lecturer and professor. His first lecturing position was at the Brisbane College of Advanced Education in the visual arts curriculum. A year later he moved on the Central Queensland University as a senior lecturer in the visual arts curriculum. In 1...

    Read More

  • Paddy Bedford's Australian Life

    1722 Words  | 4 Pages

    The tradition of aboriginal art has always strived to develop ways to record all types of information, ...

    Read More

  • Gordon Bennett The Coming Of The Light Analysis

    924 Words  | 2 Pages

    “Art can use the power of visual image to challenge and even change popular opinions about important and universal issues. Art can be a very influential way to give a strong, direct comments and criticisms on things that have happened in society and culture.” (Rehab-Mol J, 1998, p6) Indigenous art is mostly about connecting to their land and their religious belief; however, art has different forms, especially the Indigenous contemporary art as it uses ‘modern materials in a mixed cultural context’. (Aboriginal Art Online, 2000)

    Read More

  • Between the Wars: Significant Events - Emily Carr

    670 Words  | 2 Pages

    Before 1919, Aboriginal/indigenous art and artifacts were virtually non-existent in the world of art, with almost no representation whatsoever and was “thought to be dying under the waves of white cultural encroachment on their lands, languages and cultural practices.” (The Canadian Encyclopedia, paragraph #4). After returning from a trip to England in 1899, feeling “cheated by 'bad health and circumstances'”, Emily felt isolated in Victoria, being in her mid-thirties and single, grouped with her sisters critical opinions of her and old friends having moved away or joined private groups such as 'The Married Ladies' Club' that she could not join. In 1905, she visited a small Aboriginal village by the name of Ucluelet, where she had often been to in her teen years and had been known as Klee Wyck, meaning “laughing one” in Kwakiutl (Tippett, Maria, Emily Carr: a Biography, p. 63-65).

    Read More

  • Deconstructing the Dichotomy of Aboriginal Dreamings

    1929 Words  | 4 Pages

    2002 The Post-Colonial Virtue of Aboriginal Art Zeitschrift für Ethnologie , Bd. 127, H. 2, pp. 223-240 http://www.jstor.org/stable/25842867

    Read More

  • Reflection Of Jean-Paul Riopelle

    1425 Words  | 3 Pages

    Riopelle received professional training in fine art at the École du Meuble from 1943 to 1946 and was one of the students of another important Canadian artist, Paul-Émile Borduas. Borduas was known as the father of abstraction in Quebec. Borduas encouraged his students to discover a form of freedom and reject all academic constraints, invited them to think “painterly” rather than “literally”. This ideology had laid foundation to Riopelle’s oeuvre. Later, Riopelle joined a group of young abstract artists that led by Borduas, which lately was known as the “Automatist”. He adopted a stance in clear opposition to geometric abstraction. In Riopelle’s works from the late 1940s, he developed the spontaneous expression which favored by the surrealist painters. By Automatism, it means that allow the hands to work freely, that is no particular result in mind. The Automatism encourages total openness, the artist who draws unconsciously and repeat indefinitely the same shape. There is no metaphysical interpretation hides behind the works. According to Riopelle “painting is never the reproduction of an image, it always starts with a vague feeling… the desire to paint… Not a clear idea. The painting starts where it wants, but after, everything falls into place. That’s the important

    Read More

  • Comparing John Constable's Painting The Cornfield and William Wordsworth's Poem Tintern Abbey

    1607 Words  | 4 Pages

    Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.

    Read More

  • Norval Morrisseau

    1861 Words  | 4 Pages

    Introduction: Christian Chapman’s “Future” is a 75.5 by 96 cm mixed media piece on canvas and a part of his 2026 triptych “The Past, Present, and Future of the Anishinaabe People”. The triptych addresses the connection between the Aboriginal roots and the British royalty. Chapman combined a manipulated image of Canadian Autumn Philipps, who married Queen Elizabeth’s oldest grandson Peter Phillips, wearing a crown/head dress, and oil paint to create a Norval Morrisseau inspired piece with the flamboyant colours and Woodlands pattern. Tåhe painting consists of organic, bean-like shapes that formed the figure and features striking colours of different intensities and shades such as green, blue, and pink, which also served as the background colour.

    Read More

  • Kasimir Malevich

    744 Words  | 2 Pages

    Kasimir Malevich, a Russian painter and designer, was born near Kiev on February 26, 1878 (Guggeheimcollection.org) and was “one of six children from Russified Poles” (Articons.co.uk). While living in Ukraine, he became absorbed into art during his teens, “largely teaching himself” the basics (Articons.co.uk). After saving his money “from his job as a railroad clerk” (Articons.co.uk), Malevich enrolled in the Moscow Institute of Painting, Sculpture, and Architecture in 1903 and began to study art more seriously. Later he trained at Kiev School of Art and Moscow Academy of Fine Arts and “produced portraits, landscapes, and genre scenes” in his early stages of his career (Artstudio.com).

    Read More

More about How Did Alex Janvier Influence The Artist

Open Document