“While I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate.” – Kathe Kollwitz. As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food and the starving-to-death children at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were prepared to emulate and capture what her eyes had seen while she was in Germany and this is why I had taken a likening to her drawings. The two artworks that I am specifying in this research paper is the drawing labeled “Germany's children starve!” and”Self-Portrait, Hand at the Forehead (Selbstbildnis mit der Hand an der Stirn)”. Furthermore, Kathe Kollwitz lived a very prodigious yet dynamic evocative life and her legacy will be in eternal revere. She was born on July 8, 1867 in Konigsberg of East Prussia. She was born in the mid-late years of the 19th century. Kollwitz had the desire to study art and pursued this ambition in Berlin. She worked under Karl Stauffer-Bern at the sc... ... middle of paper ... ...llows us to retain the full emotional appeal coming from the drawing. This contrast in turns emphasizes the focal point (denoted by the arrow). Works Cited BrainyQuote. "Kathe Kollwitz Quotes." BrainyQuote. Xplore, n.d. Web. 23 Mar. 2014. . "Germany's Children Starve!" Kathe Kollwitz. Wiki Paintings, n.d. Web. 23 Mar. 2014. . MoMa. "THE COLLECTION." MoMA.org. Museum of Modern Art, n.d. Web. 21 Mar. 2014.. RogaGallery. "Kathe Kollwitz - Biography." Kathe Kollwitz - Biography. RogaGallery, 2014. Web. 21 Mar. 2014. .
Louise Bourgeois and Constantine Brancusi were both two artists that had very abstract pieces of art. Though the two artists had very different pieces of work they also shared a lot in common. Bourgeois and Constantine both had very visually dramatic styles of art that focused on sexuality and reproduction in forms of the human body. In this paper I will be talking about both artists backgrounds and works as well as what they share in similiarity and the underlying message of their work.
Kathryn Kish Sklar I have read Kathryn Kish Sklar book, brief History with documents of "Women's Rights Emerges within the Antislavery Movement, 1830-1870" with great interest and I have learned a lot. I share her fascination with the contours of nineteenth century women's rights movements, and their search for meaningful lessons we can draw from the past about American political culture today. I find their categories of so compelling, that when reading them, I frequently lost focus about women's rights movements history and became absorbed in their accounts of civic life. I feel Kathryn Kish Sklar has every right to produce this documentary, after studying women's rights movements since before college at Radcliff College, Harvard University and U. of Michigan where earned various degrees in history, and literature.
By means of comic illustration and parody, Art Spiegelman wrote a graphic novel about the lives of his parents, Vladek and Anja, before and during the Holocaust. Spiegelman’s Maus Volumes I and II delves into the emotional struggle he faced as a result of his father’s failure to recover from the trauma he suffered during the Holocaust. In the novel, Vladek’s inability to cope with the horrors he faced while imprisoned, along with his wife’s tragic death, causes him to become emotionally detached from his son, Art. Consequently, Vladek hinders Art’s emotional growth. However, Art overcomes the emotional trauma his father instilled in him through his writing.
I chose to analyze the The Family, 1941 portray and The Family, 1975 portray, both from Romare Bearden, for this essay because they are very similar paintings but at the same time very different. To write a critical analyzes it was necessary to choose two different paintings that had similar characteristics. The text about critical comparison said that to compare things they have to be similar, yet different, and that’s what these paintings look to me. As I had already written an analysis of The Family, 1941 portray I chose to analyze and compare The Family, 1975 this time. Both works have a lot of color in it and through the people’s faces in the pictures we can feel the different emotions that the paintings are conveying.
This paper will discuss and compare A Faun Teased by Children sculpture, of the Italian Baroque style, and the Little Fourteen Year Old Dancer of the French impressionist style. These two sculptures give us a clear insight and allows us to peer in on the moment that is taking place. The active movement, strong diagonals and dramatic facial expressions of the figures in A Faun Teased by Children tells the on looker a vivid detailed story of the actions that are taking place and what role each figure is taking on, in a mythical scene, while the stagnant and serene pose of the Fourteen Year Old Girl resonates calmness and a moment that has not taken place just yet.
..., the broader feel of the scene. He wants us to take in the entirety of the painting but have a moment to catch the individual scenes within it, like the couple dancing, the man in the corner rolling his cigar, or the women in the front talking to the man. We do get places where our eyes can rest, but in general your eye takes in the swirl of modern life and pleasure.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
Furthermore, the art piece is only in shades of black and white, which really intensifies the sadness and darkness. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way. During the period in which the piece was created, it was popular to paint in a socialistic style. Kollwitz accurately did this in all of her pieces by depicting social movements, peasant uprisings, the impact of war, and the life of the worker. Her style can be categorized even further by saying that it was a form of German expressionism. This
When we take a closer look at the picture, we are able to depict symbols that will means something to us, it is called the paradigmatic analysis. You are able to comprehend a
As the young boy grew, he began to have a love for art and wanted to become an artist, but his father, however, did not have a care of his son’s dreams, but instead wanted him to grow up, following in his footsteps; in which Adolf rebelled against.
The turmoil began early for this young woman. At age six, she was stricken with polio, which left her walking with a limp. From the beginning Kahlo did not intend to become an artist. She was attending school at The Preparatoria (Preparatory) to become a famous doctor (Frida Kahlo n.d.). It was on September 17, 1925 that the most pivotal moment in her life occurred. Kahlo was on her way home from school when she became involved in a tragic bus accident. She was discovered by her boyfriend at the time, Alejandro Gomez Avais. Her slender body had been pierced by a hand rail (Lucie-Smith 1999). Many, including doctors, thought she wouldn’t make it. She proved wrong after surviving various surgeries. For a year she was put in bed to recuperate. The accident left her with a broken back, broken pelvis, and a crushed leg. During her recuperation she taught herself she taught herself to paint by studying Italian Renaissance (Frida Kahlo n.d.). She began painting portraits of family members and still life from her bed.
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
Sonya Kovalevsky was born on January 15, 1850 in Moscow, Russia. She grew up in a very intellectual family. Her father was a military officer and a landholder; her mother was the granddaughter of a famous Russian astronomer and an accomplished musician. She grew up living a lavish life, and was first educated by her uncle, who read her fairy tales, taught her chess, and talked about mathematics. She even bumped into the subject of trigonometry while studying elementary physics. She achieved all of this by the age of thirteen.
Born in the beginning of the post war era following World War II, Barbara Kruger grew up in a time that was transitioning from the modernist period into the postmodern or contemporary period (Becker). During this time artists were rejecting the logical thinking of modernism; which is rooted in the truthful facts and science. Postmodernism can be considered to be a reaction to modernism. It i...
My husband, children, and I sat by the tree drinking eggnog. After countless years of tears, we were beginning to smile. We still missed the presence of Quenette, and we always will. We will never stop missing her. Yet, we found joy in the fact that we had finally received justice for our family and beloved daughter. Not only that, but we had begun to open doors for numerous victims and loved ones who are pained with the grievances similar to what we have experienced. Now, they have rights that they did not have before. I find ease in knowing that I did not dedicate my life to this movement in vain. A fatal errand had led to