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Jacob Lawrence painting the “Blind Beggars” shows an elderly blind couple walking down the street. It is assumed that they are a married couple. The blind woman is holding on to the blind man who is holding a begging cup in his hand. Children are playing around the couple going about their own business as the couple walks past them. The “Alabama Plow Girl” photographed by Dorothea Lange shows a young child from the bottom only. You can only see the young girl bottom of her dress, along with her legs and feet. Her feet are in dirt and you can see a plow in front of her. The girl has no shoes on, plowing the fields in Alabama. From the photograph, you can tell by her feet and legs that she is a young girl. The young girl being shoeless shows For the rest of her life she walked with a limp. As a preteen, her father abandoned the family. This affected her deeply and it made her feel empathetic to those less unfortunate. The photograph, the “Alabama Plow Girl” was taken during the Great Depression of a young girl working in the cotton fields. Lange’s photographs often reflected people of the less fortunate. Jacob Lawrence grew up in poverty, experienced racism and his father abandoned the family at a very young age. Jacob Lawrence paintings often reflected on Harlem social life as well as poverty, brothels and pool halls in Harlem where he grew up. The “Blind Beggars” reflected on the social issues of poverty of this elderly blind couple. (Grant) In this tempera painting, he used matte opaque water based paints. Tempura paint is a fast drying, opaque matte paint which is inexpensive. Along with his use of tempura paints, he used paper-covered boards to create this beautiful painting. In addition, his use of vibrant colors is what brings this painting alive. In contrast, the “Alabama Plow Girl” is not a painting but an actual photograph taken by Lange. What is interesting is that the photograph is not in full color, but in black in white in contrast to the “Blind Beggars” painting, which has vibrant colors. Both Lange and Lawrence art works reflect on the theme of poverty and unfortunate circumstances of
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
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
Elizabeth Catlett`s art documents history, but particularly the experiences of the black and brown working class women.. She combined what she has learned of African art, African American art, and
After reviewing Jacob Lawrence’s direct and dramatic paintings, it was clear that his painting helped him express himself. The painting was and still is a product of the economic and cultural self-determination that African-American dealt in the Harlem Renaissance of the 1920s, during the migration and still evident in society today. The visual qualities in Jacob Lawrence artwork that is appealing are the vibrant colors and his clever way of self-expressing the time he was so familiar. In final analysis, his artwork expressed how he felt about his environment and what his perspective were during that time. And, how restrained his painting were, for instance, Street Scene – Restaurant, even though African- Americans had access to restaurants in the neighboring area but, he still place patriot outside the restaurant waiti...
Imagery of light is used in Fisher’s collection of poems to symbolize positive facets of a life lived in poverty. People living in poverty are not given all the basic necessities required to live comfortably. Many impoverished persons are malnourished due to lack of resources such as sufficient food or appropriate clothing. The lack of living essentials and the inability to afford everything that they desire provides people living in poverty with a greater appreciation for small acts of kindness. Many of the poems in Fishers collection show aspects of the poor being grateful for the little things in life. One of the poems shows a little girl being extremely appreciative of something every...
Photographs capture the essence of a moment because the truth shown in an image cannot be questioned. In her novel, The Lovely Bones, Alice Sebold uses the language of rhetoric to liberate Abigail from the façade of being a mother and spouse in a picture taken by her daughter, Susie. On the morning of her eleventh birthday, Susie, awake before the rest of the family, discovers her unwrapped birthday present, an instamatic camera, and finds her mother alone in the backyard. The significance of this scene is that it starts the author’s challenge of the false utopia of suburbia in the novel, particularly, the role of women in it.
Contributions from religion, climate, agriculture, politics, and nationality affect these artists, and there is an undeniable congruence in the rich (often naturally derived) color choices, distorted or fantastically unreal use of scale and perspective, and a seemingly optimistic or grandiose take on reality. I've chosen to compare the works of Naïve Artists from the Southern United States and the Balkans region of Southeastern Europe, to explore where their similarities and differences stem from, and to ask the question, what is it about their environment that impacts their art? My theory is that many of the similarities in style and content are due to these artists’ rural and impoverished existences as well as their Christian upbringings.
Jacob Lawrence's unique career has earned him a National Medal Of Arts , election to the National Academy of Arts and Letters and the National Academy of Design,a National Council of the Arts commisionership, and dozens of honorary degrees and awards, including the NAACP's Spingarn Medal. His paintings has been freatured in several major art exhibitions and many different museums. Lawrence's parents came from the south but they moved to Harlem where Lawrence grew up. Lawrence was born in 1917 and grew up in Harlem during the Great Depression. He had many extraordinary educational oppurtunities as well as his first employment as an artist. In the studio of his mentor, Charles Alston, young Lawrence painted while the Harlem Renaissance was blooming with a generation of young artists and writers. He studied at the Harlem Art Workshop from 1932-1937 and at the American Artists School from 1937-1939. In the 1930's there was two main art groups,realism art and abstractionism art. Lawrence rejected both of them and made up his own style of art. His paintings are alive with human figures, usually African Americans,engaged in all different types of activities. He dipicted the figures in his paintings with dignity and grace. He got his ideas from several different sources. He used repetitive paterns and a lot of different colors and design which are commonly found in a quilt or an African textile. He made up to as many as 60 paintings which are each telling a story and the messages are usually of human triumph over oppression and injustice. Although his paintings often relate to the history and experience of black people their themes are universal. Lawrence allso made murals for his story telling. Throughout most of the 20th century , art institutions within black communities were the only places that exhibited the work of black artists. If other galleries did have black exhibits they were singled out as "Negro artists" or "Negro Art". Without gallery exposure, they were rarely noticed by influential people or obtain appropriate prices. In 1941 Alain Locke, a friend of Lawrence's introduced Lawrence's Migration series to the owner New York's Downtown Gallery Edith Halpert. Edith immediately organized an exhibition for Lawrence's art work, and Lawrence joined the select few group of artists she presented, which included Stuart Davis, Charles Sheeler, and Ben Shahn. Lawrence's Migration series was purchased and divided between the Museum of Modern Art and the Phillip's Collection.
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
First, the scene in the image was manipulated through stage-managing, a common practice in photojournalism. While the image of the migrant mother, Florence Thompson, appears to the viewer to be a genuine and unprompted look at the hardship and deprivation of a dejected migrant woman. This, of course, was the reality of Ms. Thompson’s personal situation at the time. But the scene itself was micromanaged to appear in a lucid and vivid form in the image, including editing Ms. Thompson’s older children from the image to create the more poignant scene of a mother holding a small child and using a pose in which the woman is looking out into the distance, with the two children told to lo...
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The background image is a sunrise over a small village. The sun stands out from the earthy tones of the rest of the background. It looks as if it was colored in with a pink highlighter. The pure radiance of the sunrise captures the attention of bystander. The luminosity of the sun is surrounded by a yellow skyline with brown houses of the rural community below it. Surrounding the houses is a field of green grass, but as you follow the path that the girl is on the lush carpet of healthy grass turns into a withered field. This shows that the crops where the girl works have not produced enough food for that season, making the girl short on income. The ...
Van Gogh had sympathy for the peasants and furthered his passion for humanity. He studied them non-stop to explore their world. The color palette he chose was dark and crudely painted on, almost grungy. It’s a low-lit kitchen area, with the look and feel of exhaustion that the dark color palette engages the viewer to feel what is going on.
A picture of a woman with her two children shows that not every family is the stereotypical family with two parents and responsibilities are spilt with gender roles. The tired eyes, wrinkled skin, and aging face illustrates the struggles that a woman has to face, physically and emotionally, for her family. It shows the individual worth of being a woman, as she is not only the caretaker for her children but also the provider for their needs, which is a generally a man’s responsibility that she is executing, even though many men couldn’t provide for their families as they lost everything they had. A woman during this era is expected to stay with the children and make their home a haven, and she was stripped of the ability to do that by the necessity to become a migrant. The image cues for emotional responses with economy, as there were a few families during the Depression that hadn’t been severely affected and at least had a solid roof over their heads, food to eat and clothing to keep them covered. This image portrays a clear distinction of social class issues in the United States during the time, and “Migrant Mother” shows people what the life if a migrant worker from a poor family is really like during times of crisis. It proves that the Depression was a systematic failure in the political, economic, and social spheres, and the poor pea pickers are suffering an outcome for something they hadn’t caused. Their living government in the image show that there has been no political or economic help extended to them by a failing government. The pea crop had frozen; there was no work. There was no opportunity for prosperity and success, no possibility for an upward social mobility for the children, there was no land in which life was better and richer for everyone. This wasn’t the American Dream that everyone grows up thinking because this was about a crisis that left the entire
Social realist art, which dominated in the US during the Depression, communicates the concerns of the masses: artists question the treatment of the poor and praise American values embodied in ordinary people. In painting, Thomas Hart Benton’s murals depict an extravagance juxtaposed alongside honest, hardworking people, calling into question the actions and greed leading up to the Great Depression. Benton’s murals in both subject and medium penetrate the American political landscape, purporting such ideal values as hardworking and honesty. In photography, Dorothea Lange captures in the flesh the realities of the working poor. In her photograph Migrant Mother (1936) Lange portrays simultaneously the oppression and resilience of the working