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Short reflection about artworks
Short reflection about artworks
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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 …show more content…
The painting titled, “Still Life with Fruit”, was significantly focused on nature. The painting included four different types of fruits, nuts and three different types of insects that were centralized, in front of a column or a pillar. The fruits are painted to depict a loom of grapes, hanging off a stone corner touching a medium-sized fig and a branch connected by three mangoes. To the left of the fruits were three nuts, that were each sized differently. The insects include a monarch butterfly facing the fig, a white moth facing the crusty leaves underneath the fruits, and a huge fruit fly on one of the mangoes. The column was draped with a blue cloth in front of the daytime …show more content…
The three most dominant elements are form, space, and value. The reason for this is that the inanimate or still objects in the artwork are dominantly three dimensional with illusions of depth and volume, as well as, colors or shades with light values and dark values. The three most dominant principles of design are emphasis, contrast, and balance. The reason for is this is that the artwork displays a contrast and difference towards the values and colors to direct focus and interest onto the work of art. The artwork dominantly consists of these elements and principles to emphasize the relationship and true nature between the insects, brittle leaves, fruits among the inanimate pillar draped in blue cloth. Ultimately, the artwork titled, “Still Life with Fruit”, displayed an aesthetic story that fascinated me. I believe that the artist was trying display the corruption that targets life. The artist might have painted insects preying on fruit around the still atmosphere as a metaphor to compare how the innocence of life can be disrupted by various threats. It was interesting how the artist directed insects to target the fruits. The methods that artists used to give the fruits a realistic appearance was likable. Conclusively, I did not like the restless daytime sky in the
Pieter Claesz’s “Still life with a skull and a writing quill” is a 24.1 x 35.9cm still life oil on wood painting showing a skull with a quill as well as a turned glass roemer with reflections, an expired lamp, pen holder, inkwell, book, and folders of papers, this is one of Pieter Claesz’s earliest still life paintings, the attributes of a writer suggest that worldly efforts are eventually in vain.
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
In the early 16th century the Netherlands experienced what was called “tulip mania” this was the beginning of the nations love for flora and foliage (Taylor 13). The result of this impressive flower invasion was a society that took a historical turn from which the results still remain today. Flower merchants, botanists and floral still life artists, were occupations that were an accurate reflection of the Netherlands demands (Brown). An interesting example of a life that was effected by, and devoted to the archiving of the flower craze was Rachel Ruysch (1664-1750) the 17th century Dutch flower painter. Rachel Ruyschs’ career straddled the 17th and 18th century, and her stunningly accurate floral pieces reflect the maturing, yet evolving art of floral still life painting (“Rachel Ruysch: Bibliography”). Ruyschs’ Still Life with Flowers on a Marble Tabletop (1716) is an excellent example of a painting that appropriately represents the genre of art that was created solely through specific societal events.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
The art piece chosen for analyzing in this essay is from Claude Monet, The Windmill on the Onbekende Gracht Amsterdam oil on canvas painting from 1874. Claude Monet was born on November 14 in 1840 in Paris, French, and he death on December 5 in 1926 in Giverny, France. He was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement 's philosophy of expressing one 's perceptions before nature, especially as applied to plain air landscape painting. According with the information next to the painting in the museum of art in Houston “on one of his visits to Holland, Monet was intrigued by this charming windmill situated on the small “unknown quayside” in Amsterdam. The mill, built in 1656, produced textile dyes and was demolished in 1876.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
When I imagine an artist, I picture a Parisian dabbing at a sprawling masterpiece between drags on a cigarette seated in an extravagantly long holder. He stands amid a motley sea of color, great splashes of vermillion and ultramarine and yellow ochre hiding the tarp on the studio floor. Somehow, not one lonely drop of paint adorns his Italian leather shoes with their pointed toes like baguettes.
The most important element is color because it shows the families race and it represents their moods. The author contrasted color and value by adding vivid colors to the most important items and value to depict the mood .Other elements that are included are form- to show the dominos, line- to show emphasis on the objects but he has also used shapes to show how the room is decorated. Space is also depicted to show the setting and the room. In the artwork lines are not the dominant elements but they play a role to show the shapes. The mark making tools were used to depict a particular look of the family. Texture has been used to show the realistic objects so they are actual textures. Light is used to show the mood of the illustration which looks bored and gloomy. The three most important design choices Horace Pippin made while creating this artwork were form, space and
The artwork I chose for this project is Almond Blossoms by Vincent Van Gogh. Almond Blossoms was painted in 1890 during the Post-Impressionism movement. The reason I chose Almond Blossom because the painting is calming to view. I selected one of Van Gogh’s paintings because I appreciate his art work.
Vanitas, found in many recent pieces, is a style of painting begun in the 17th Century by Dutch artists. Artists involved in this movement include Pieter Claesz, Domenico Fetti and Bernardo Strozzi . Using still-life as their milieu, those artists and others like them provide the viewer with ideas regarding the brevity of life. The artists are giving us a taste of the swiftness with which life can fade and death overtakes us all. Some late 20th Century examples were shown recently at the Virginia Museum of Art in Richmond, Virginia. Among the artists represented in this show were Miroslaw Balka (Polish, b. 1958), Christian Boltanski (French, b. 1944), Leonardo Drew (American, b. 1961), Felix Gonzalez-Torres (American, b. Cuba, 1957- 1996), Jim Hodges (American, b. 1957), Anish Kapoor (British, b. India, 1954), and Jac Leirner (Brazilian, b. 1961).
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
The painting Olive Trees, now at the Minneapolis Institute of Arts, is one of a series of ten or twelve paintings of olive orchards, which Van Gogh painted in 1889 while living at the asylum of Saint-Remy. This painting is a landscape accomplished in bright, complementary colors, with Van Gogh’s characteristically brisk brushwork. The image is divided roughly into thirds, with the middle zone, the trees, being highly capricious. The brushstrokes describe the lay of the land, the movement of the wind in the trees, and the rays of the sun. The sun itself is hugely misrepresented in size, and highlighted also by an outline of orange. It dominates the picture and takes on perhaps a “supernatural” aspect, possibly representing deity or faith. The curved trees all lean, even quiver, away from the center of the painting. They cast violet shadows which shouldn’t be possible, given the placement of the sun: Realism is sacrificed for the content. The most prominent of these shadows is at the center of the foreground, and is not associated with any one tree. One could see this central shadow as the thing from which the trees are bending. The base of each tree is painted with red lines that ambiguously outline where the shadows would fall if the sun were directly overhead. Both the ground and the trees have a singularly wave appearance, while the sun is more stable, and the distant mountains are still.