I travelled to Los Angeles on March 5, 2016 and explored the J. Paul Getty Museum. Located in the Santa Monica hills west of the 405 freeway, the Getty Center has a view overlooking the Los Angles skyline. Because of the geographical location, the center provides guest with tram rides to and from the park structure and museum. The museum is very large, consisting of multiple galleries within each of the building, an observation deck, and a central garden. There are numerous collections available, with various forms of art including paintings, photography, sketches, furniture pieces, and sculptures. Although a majority of the works are classical and neoclassical, the museum also included collections of contemporary and medieval art pieces. The …show more content…
The oil on canvas piece was created around 1893 or 1894, and contains imagery of a rum bottle, green vase, ginger pot, a sugar bowl, two sets of sheets, and numerous apples. Cezanne’s style is very flat and condensed. He paints minimal details, and instead chose to focus on the relation between the set of items and the space. He used every aspect of space on the canvas, almost placing each object other in the way on the next. The items have nominal room between them, their edges blend and their proximity to one another almost makes them appear mingled together. The lighting does not appear to be eminent, cause the picture to have a flat feeling to it. For example, the sheets are clumpy and dense, rather than flowing the way most fabric does. All in all, the image does seem to provide a level of comfort, and Millet’s use of varying textures and sooth lines is a unique take on usual still life …show more content…
What I found significant about this set of paintings is that they showcase the changing art style Monet had overtime. The first, titled Still Life with Flowers and Fruit was painted in 1869. The most vibrant of Monet’s painting at the Getty Museum, the painting showcases Monet’s classic still life style. The image consists an overwhelming vase of brightly colored flowers and an overflowing basket of apples, pears, and bunches of grapes. The objects are placed on a white, ruffled tablecloth in front of a dim grey background. Opposite to Cezanne’s Still Life with Apples, Monet gave attention to the illumination of each individual subject piece, including the less noticed details, such as the folds in the table cloth. This causes all of the items in the picture stand out of their own. He used different painting techniques throughout the art piece. Most notable to me was his sketchiness in painting the apples compared to his slim, broad strokes used to paint the
It is from the Neo-Assyran period during 883-859b.c.e. The highest relief would be its head. The writing was all around the statue in a different writing. It is very big and tall. It is on a good portion of the corner of a hallway. It looks kind of cool with a bull’s body with wings and a human’s head on it. The face is kind of funny because of the beard I guess if long and real even. The human-headed wing bull had five legs.
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...
Paul Cezanne’s artwork can be found in various museums and galleries around the United States. The Artist Father, Reading “L’Evenment” (1866) is available to be seen at the National Gallery of Art in Washington D.C. Two portraits, Uncle Dominique (1886) and Man with a Straw Hat (1870) are displayed at the Metropolitan Museum of Art in New York City. In California you can find his artwork at the J. Paul Getty Museum in Los Angeles, (Portrait of Antony Valabregue, 1866) and at the Norton Simon Museum in Pasadena, (Farm and Chestnut Trees at Jas de Bouffan, 1844).
The Columbus Museum of Art is a place rich in local history. A place where items of historical and artistic value are stored for safekeeping and allow access for public viewing. The museum has several locally named galleries. It also has a cute children’s area, complete with artwork from little local artists from several schools in the area. The children’s area has several pieces of art that children may touch, like Chicken George. I remember touching that chicken when I would visit as a child. The area also has a mini art studio to cater to the little creative minds that pass through.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
The exhibit that I viewed at the Philadelphia Museum of Art was one about European Art between the years 1100-1500. This was a series of paintings, sculptures, architecture, and tapestry of the Medieval and Early Renaissance as well as objects from the Middle East. This exhibit was an important part of the history of the Philadelphia Museum of Art because for the first time, Italian, Spanish, and Northern European paintings from the John G. Johnson collection were shown. It gave me a good idea of what the paintings were like in these four centuries and reflected ideas of both the east and the west.
Henri Matisse’s Bonheur de Vivre (Joy of Life) is remembered as one of his greatest and daring Fauve Paintings that incorporates many different references from other painters. From Cezanne’s painting, The Large Bathers, Matisse uses Cezanne’s technique of painting trees to resemble a stage and shapes the leaves to flow like the curtain. Matisse also paints his women as mirrors to the trees’ outline, making them extremely curvy, just like Cezanne. From Ingres, Matisse took the sexuality and idea of how a woman should be, and from Titan Matisse incorporated the sense of pleasure and freedom. Matisse not only uses vivid colors that capture the senses of the beholder, but he also uses the idea of perception and painted his masterpiece in such a
himself through his mediums. He used oil on canvas for his medium in this painting. There are
Through the exploration of Modernism as viewed by Charles Harrison and Clement Greenberg, the work Still-Life with Apples and Oranges (c.1899), by Paul Cézanne is identified within the framework of Impressionism. Through the characteristics of the Impressionist art movement and the artist himself, it is evident that the painting is thus a Modernist artwork through its reaction to classical theories of the Old Masters and the experimentation of the avant-garde as well as its parallels with the notions of the Modernists.
The Lowe Art Museum is located right off of the main entrance to the University of Miami on Stanford Drive. The museum had several visitors walking throughout on the day I visited, but as one gets away from the main lobby, the building becomes almost silent. The only conversation heard are whispers and the movement of the security guard through the rooms about every two minutes. The absence of sound allows one to fully take in the beauty of the artwork. Walking around the different galleries, I came upon the “Sheldon and Myrna Palley Gallery” which is host to European art. Unlike the other rooms which are just separated by an entrance through the wall, this gallery is enclosed by glass doors, and has a different feel then the rest of the Lowe Art Museum. The rooms is relatively dark as the small lights on the ceiling are pointing only on the walls at the paintings. The walls are painted a dark magenta color adding to the lack of light in the room. Immediately after entering this gallery though, a distinct scent hit me. The smell is hard to describe, but it is one of old wood and dust, possibly from the frames and paintings that date back to the fifteenth, sixteenth, and seventeenth centuries.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
Art in general is a factor that allows humans to express their creativity, as they apply the essentials of history, media, elements and principles of design. It was those recent class trips, that I had taken to La Salle Art Museum, that instantly allowed me to acquire a deeper passion for art. Soon enough, in the 17th century exhibit, I saw a piece of artwork that was remarkably aesthetic for me. The artwork is ironically titled, “Still Life with Fruit”. The approximate size of this artwork is 16 inches wide by 20 inches long. The artwork dated back to the year of 1689. A Dutchman named, Jan Mortel, born during the year of 1650, was the artist of this artwork. Judging from the artwork, Jan Mortel had a great talent for oil painting. Jan Mortel
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.
I was lucky enough to visit the Van Gogh Museum in Amsterdam in November of last year. The museum was located in somewhat of a museum park. The Rijks museum and the Stedelijk Museum are located on the same block. A beautiful landscape of ponds and trees are centered around them. The Van Gogh Museum has an audio tour available in all languages via a handheld tour guide. Unfortunately, funds limited me to get the audio tour, but I was able to nonchalantly follow a British couple around most of the five floors. The museum chronologically directes you through a collection of Van Gogh's and his contemporery's works.
Like many of Van Gogh’s paintings, Olive Trees commences as a landscape and expands into a complex work, disclosing influences from other times and places. Using the color theory and separated brushstrokes of the Impressionists, the movement and vivid colors of the Romantics, and lighting and composition inspired by Millet, Van Gogh achieves the potency and significance that characterizes his work. Van Gogh’s paintings can’t possibly be mistaken for those of another artist of his time because, despite the fact that all of his means have criterion, his end results do not.