The object I chose in the Lightner Museum is a painting with a gold frame. The medium in which it was created is oil on canvas. Featuring this piece is a man on a seat in front of a podium. He looks around the age of fifty, wearing a black cap and glasses. His clothing consists of a collared shirt, a coat, slacks, long socks to his knees, and black shoes. In one hand he holds a small book, which he appears to be reading from, and in his other hand he carries a brown stick about a foot in length. Standing in front of the man is a boy about ten years of age. He is standing with very straight posture and his hands by his sides. The boy is adorned with a blue vest, a white collared, long-sleeved shirt and brown pants. To the right of the man is …show more content…
One can infer this information based on the clothing, furniture, and architectural styles prevalent in the picture. The main figure that is central in the piece, the older man, fits the role of what appears to be a teaching position, where the boys that surround him are his students. The scene displayed here is one of an examination day. Each boy must take his turn addressing the teacher and answering some sort of test question, which the teacher prompts from a small booklet in his hand. The boy that is seated on the left side, who is dramatically depicted in a sobbing action, must have failed his examination. One could further infer, due to the teacher’s possession of a stick-like tool, that the punishment for such failure would have been a slap on the wrist or such. Another boy stands for his shot at the test, awkwardly clutching the fabric of his trousers. To the right of him, another boy crouches behind the teacher’s podium and out of the man’s view. His hand cupped beside his mouth, he secretly whispers the answers for his friend being quizzed. The children seated behind their desks in the far right hand corner have a collective look of mischief, as they are all in on the secret cheating that is going on in the front of the classroom. This group of boys symbolizes a cause for the act of cheating, as each boy wants desperately to avoid embarrassment, as so dramatically depicted by the sobbing child on …show more content…
It is the room immediately after exiting the elevator. In relation to walking into the room, the painting is in the back left corner. It is hanging on the wall separated from all other pieces of art. All the walls, the stands, and pillars are plain white. The only items in color are the other pieces of art. This room mainly consists of three dimensional objects. The painting has little to no relevance to this room what so ever. This painting is a comical piece and it is placed in a room with no emotion or general connection to anything else around it. It is displayed in a way which makes it clear that it is by itself. There is nothing close to it as well as nothing correlated to it in the same room. The only reason why that painting should be in that room is because it is a room of misfit pieces of art. The Lightner Museum as an institution repeats this lack of organization throughout its exhibits. Based on the history of the museum and how it started, it makes sense that there are random items placed in strange places. This may encompass the exact goal of the Lightner Museum, because it portrays the origin and the background of how the museum came about through the questioning of the arrangements by the visitor. Conspicuous consumption is exemplified through this painting and the museum because it was basically all created by overbuying and greed. It can be said that the single very reason anybody
The art represented more than just sculpture. The art represented the social issue of racism by not having “black art” in a “white museum”. History shows us that black or African-American people have had a hard time fitting into this society because of the older days were black people were considered to be inferior to the “white
An artwork that stood out in the exhibition was School of Beauty, School of Culture (2012) . It portrays women and two children standing in a beauty salon and school with green walls and a red floor. The walls have posters promoting black beauty with one that reads, “it’s your hair” and under this statement are the words love, dark and lovely. There are mirrors against the wall and in the reflection a camera flash is shown from a person who is taking a picture of those in the salon. Red, black, and green, the colors of the Afro-American flag, border the top of the wall, symbolizing the black power movement . The focal point of this piece is a woman who stands in the center, posing for the person taking a picture. To her right, towards the floor, is a “floating” head of a white woman which is compressed and 2-dimensional. This is a tribute to Hans Holbein’s The Ambassadors (1533) because in Holbein’s piece, there is a 2-dimensional skull painted in the same fashion. Just how the skull in The Ambassadors is a reminder of death, the head in Marshall’s
The painting is intimate, almost as if was not meant for the eyes of the viewer. The mother gently holds the baby, within her arms, as she feeds him. The mother’s gaze is met by the child as it reaches out to touch her face. The background is simple, emphasizing the closeness between the mother and child, much like Le Brun’s piece. Additionally, Cassatt’s The Child's Bath, 1893 “with its striking and unorthodox composition, is one of Cassatt’s masterworks” (“The Child's Bath”). Within this composition, she employed the use of unconventional devices such as cropped forms, bold patterns and outlines, and a flattened perspective (“The Child's Bath”). Cassatt utilizes a pastel-like color scheme, exemplifying the delicateness and tenderness between the mother and her bathing child. Her brush strokes are swift and gentle, again, suggesting the passionate, yet soft, love the mother has for her child. The elevated vantage point invites the viewer to observe this intimate moment, but not to
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
This painting of the industrial revolution is very thought provoking, and causes a person to think about of what was happening during the industrial revolution. He shows the horrors of the factories and the serenity of the nature. He makes someone want to go back in time where things were peaceful, and there was just nature. Everything was in it’s own natural state and peaceful. This painting gave viewers a small glimpse into the past of the United States and the industrial revolution. Even though this picture showed a small glimpse of the past, a picture (or painting) is truly worth a thousand
This exhibition will examine the changing role of Classical imagery from seventeenth through nineteenth century painting, as well explain how these changes gradually produced Realism. In the seventeenth century Nicholas Poussin and Peter Paul Rubens produced works that corresponded with the Classicism of the French Academie des Beaux-Arts, though they presented these ancient subjects in very different ways. The predominance of drawing and planning in Poussin’s work was seen in contrast with the dynamic use of colour in the works of Rubens. These two means of addressing Classical themes ideologically divided the Academie between the rubenistes and the poussinistes, who quarreled for over a century about artistic approaches and techniques. The innovative and expressive works produced in the eighteenth century and beyond can be seen as a product of the rubenistes’ triumph in this conflict. Following in the example of Rubens, British artist Joshua Reynolds made use of colour and dynamic compositional techniques that combined the portraiture popular in England with the Grand Manner style that gained favour in the Academie. Reynolds became the first president of the Royal Academy in Britain and gained international acclaim for his work. The achievement of such an honour fared more difficult for artists such as Eugène Delacroix, who took a bolder approach to combining Classical imagery with reality and was frequently rejected by the Academie for doing so. This was also the case for Edourad Manet, whose scandalous work shocked viewers of the Salon des Refusés with its perceived immorality and distasteful appropriation of Classical imagery.
This painting of the industrial revolution is very thought provoking, and causes a person to think about of what was happening during the industrial revolution. He shows the horrors of the factories and the serenity of the nature. He makes someone want to go back in time where things were peaceful, and there was just nature. Everything was in it’s own natural state and peaceful.
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 ...
"Impressionism (late 1800s)." Scholastic, Helping Children Around the World to Read and Learn. N.p., n.d. Web. 27 Nov. 2013. .
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
9. Bouguereau, William A. Psyche et L'Amour. 1889. Private Collection. Art In the Picture. 2014. 25 Jan. 2014 .
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.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
Morisot, Berthe. A Woman at Her Toilette. 1875-1880. Oil on Canvas. The Art Institute of Chicago, Illnois.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...