For centuries, artists treated the human body with reverence. The Greeks idealized the human body in sculpture. Michelangelo idealized the human body in painting, as did the Romantics. While the Realists may have been the first to resist idealization of their subject material, it wasn’t until the Expressionists in late 19th century that artists began to deliberately distort the human body. Painters such as Gustav Klimt and Egon Schiele used new painting styles to explore a greater truth not accessible through representative art. For example, Klimt frequently recalled Greek and Roman myths in his works, such as the Furies in Jurisprudence. Schiele used distortion of the outer body to express a tormented inner state, such as in Seated Male Nude …show more content…
The Symbolists sought to go beyond superficial reality to arrive at a greater idea beneath the surface by using symbolic structures from Classical mythology and Christian tradition. Similarly, the figure in the Kokoschka’s cover design is more than just a self-portrait: it is also a likening of the artist as Jesus Christ. The figure points to a gash in his side, reminiscent of Jesus pointing to his wounds when Thomas Didymus did not believe he had resurrected. In a similar way, Kokoschka attempts to convey himself as an artist misunderstood by society. One may interpret the figure as Kokoschka expressing disappointment in his audience for not being able to accept his style of art. Concurrently, the figure has a shaven head, reminiscent of a criminal. Indeed, Kokoschka’s radical artistic style attracted public scandal. He received a warning from the police during a production of his play Murderer, the Hope of Women, and his art was later labelled degenerate by the Nazis (Unruh). In this light, it is interesting to note that Kokoschka is not hesitant to combine the figure’s likeliness to Christ with the figure’s likeliness to a prisoner. However, this seeming contradiction serves to further strengthen his identification as a martyr, as Jesus was – in a sense – a falsely accused prisoner. As Schiele did in his self-portraits, Kokoschka distances himself from …show more content…
The trend correlates well with the rise of psychoanalysis; just as Freud accessed an individual’s psyche as the origin of his or her desires and actions, so to did artists with paint. For example, Egon Schiele is known for their many self-portraits. The most interesting feature of these self-portraits, however, is that each is markedly unique. While Schiele is in a tortured position in Seated Male Nude (self-portrait), he displays a fragile self-confidence in Self-Portrait with Physalis. Indeed, Kokoschka also painted many self-portraits, ranging from the grimacing Christ-like figure in his cover design for Der Sturm to the _______. Artists during this time used self-portraits to paint their many inner psyches and emotions, resulting in a wide-variety of unique self-portraits all portraying the artist. Once again, the Symbolist influence may be seen here. One of the Symbolists’ main objectives was to give voice to the not voiceable, to access the not accessible. Indeed, one may argue that van Gogh was the first to use self-portraiture as a means of expressing emotions and the inner psyche. Artists such as Schiele and Kokoschka further developed these ideas: whereas van Gogh mainly used color to express emotion, the Expressionists further distanced themselves from representing reality, distorting the human body to express their feelings.
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
Throughout the history of art, there has always been a plethora of portraiture, no matter the time period or the medium whether is be sculptures, paintings or even carvings. Humans have always been fascinated with themselves and the way others look. But it’s not always about vanity, it means so much more and can be conveyed in many different ways. In some cases, the artists moved beyond that of a simple likeness and can instill different emotions in the viewer. That being said, in this essay I will compare and contrast two portraits. The first is an oil painting titled Man in a Red Turban by Flemish painter Jan van Eyck from 1433. The second work of art is Louis XIV by Hyacinthe Rigaud, a French Baroque painter. The portrait is from 1701 and is an oil-on-canvas painting. These two works of art both demonstrate a likeness of each of their subjects but use different styles, elements and emotions to captivate the viewer. In this essay I will detail why I believe Man in a Red Turban is the better portrait and why it is so effective.
This rebirth of ideas began with the influence of the knowledge of the Ancient Greeks and Romans, specifically those of Socrates, Plato, Aristotle, etc…this is the beginning of Humanism, which as our text describes as “an emphasis on education and on expanding knowledge (especially of Classical Antiquity), the exploration of individual potential and a desire to excel” (Kleiner,F.S p. 448). The artists of the period utilized this information and incorporated it into the study of the human anatomy which allowed them portray the human form in a much more realistic and accurate
Coming from a family greatly involved in art dealing, Vincent van Gogh was destined to have a place in the world of art. Van Gogh’s unique techniques and use of color, which clashed and differed greatly from the masters of the art world of his time, would eventually gain him the recognition as one of the founders of modern art. Van Gogh’s early life was heavily influenced by the role of his father who was a pastor and chose to follow in his footsteps. Although he abandoned the desire to become a pastor, van Gogh remained a spiritual being and was strong in faith. Plagued with a troubled mind and poor health, van Gogh’s life became filled with torment and isolation that would influence his career in later life as an artist. In his late twenties, van Gogh had decided that it was God’s divine plan for him to become a painter. His works would express through thoughtful composition and vibrant color, the emotions that he was unable to manifest in the real world. Van Gogh’s perception of reality and his technique would face harsh criticism and never receive full acceptance from his peers as a serious artist during his brief career. In a collection of correspondence entitled The Letters of a Post-Impressionist, Vincent confirmed these thoughts while writing to his brother Theo, “It irritates me to hear people say that I have no "technique." It is just possible that there is no trace of it, because I hold myself aloof from all painters” (27). His technique would later be marveled and revered by the art world. Vincent van Gogh’s legacy would thrive as it challenged the way the world envisioned modern art through his unique brush strokes and profound use of color as seen in his works The Sower and The Night Café. A brief look into...
Throughout his lifetime, Vincent Van Gogh drew many self-portraits. It’s theorized that he drew so many to test out new painting styles and because it was cheaper to draw himself instead of hiring a model. The function of this painting is commentary since it is a visual account of a person. Using shades of blue in the background and shirt makes Vincent Van Gogh pop out. The orange in his beard complements to the blue and draws the viewer’s attention to his face.
Each artist is an individual with a unique style, and although these styles can be similar in practice – the individuality of the artist often proves the discriminating factor for a successful artwork. Self-portraits are beneficial when looking at the individuality of the artist as there are two aspects to look at – the artist’s style, and the artist’s view of him/herself. The latter can provide a brief insight into the mental situation of the artist as well as any apparent influencing factors of the artwork. This view can often also include fragmental insights into the society and culture of the time. Rembrandt van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.
“There are no ghosts in the paintings of Van Gogh, no visions, no hallucinations. This is the torrid truth of the sun at two o’clock in the afternoon.” This quote that Antonin Artraud, stated from, Van Gogh, the Man Suicided by Society, explains the way in which Van Gogh approached his artwork. He believed in the dry truth and as a result his work was remarkably straightforward in the messages that he portrayed. While visiting Paris, France this past April, I was fortunate enough to have visited Musée d’Orsay, a museum that contains mostly French art from 1848-1914 and houses a large collection of impressionist and post-impressionist masterpieces and 19th century works from the Louvre [The Oxford Companion to Western Art]. I was also favored in having the opportunity to see the Vincent Van Gogh/Antonin Artaud exhibition, The Man Suicided by Society. The exhibition captured Antonin Artaud’s text about Van Gogh’s, “exceptional lucidity that made lesser minds uncomfortable,” or better known as his mental illness that had a major effect on his artwork [Musee d’Orsay]. In this exhibition, Vincent Van Gogh’s works visually present his life experience having spent 9 years in a mental institution and the way his imbalanced mind played a direct role on the outcome of his artwork. The darkness of Vincent Van Gogh’s illness that had a major impact on his art, was a form of expressionism which led to a collection of works that both told his life story, and later, led to his own suicide.
Willem de Kooning was known as one of the major artists of the Abstract Expressionism period. In the post World War II era, de Kooning painted in the style that is referred to as Abstract expressionism, Action painting, and the New York School. Like all Modern art, the intent of these forms of art was not to produce beauty, but critical reflection. The intent was to awaken in the viewer a recognition of the specific, usually social or political, concern of the artist (New World, 2008). De Kooning reflected this period by working in such as a way as to both eschew all traces of visible reality in the painting as well as to create uncontrolled and sometimes violent gestures, which is reminiscent of this time (Gale Encyclopedia, 2006). His works show great emotion, mostly of a tortured, aggressive nature, which was thought of by many to be the ultimate expression of this abstract period.
As far as the human body is on the real and the anatomical features it fails to give an Idea of the human body in depth but an idea nonetheless. The painting in general is very proportional and in a way the people are proportional as a whole to the center; Jesus Christ. The main body part that seems to alwa...
Pollock’s Flight of Man and Picasso’s Head of a Woman are two diverse pieces of art when visually compared to one another. However, both pieces possess similar qualities that together convey one universal concept; humans all contain a true self and a false self. Inspired by the studies of Sigmund Freud, delving into the mind’s underlying subconscious was of high interest to both artists. False selves can be considered façades, a non-permeable membrane that separates the inside from the outside. On the other hand, true selves are often buried deep inside under inorganic layers of turmoil and deception. Sometimes, humans lose themselves in their false self, but the true self always exists within. Often to uncover one’s true self, it is necessary
Since ancient times, the word artist has acquired different connotations. It has been quite an inquiry to define it, and even with the most meticulous meanings, the word still has kept its mysterious singularity to define the whole purpose of a man. Being an artist is more than just a philosophy, and the concept belongs to a vast range of abilities of self expression. It has been said, that one of the most common abilities is that of being able to reinterpret experiences, societal pressures, adversities during childhood, successes and failures, and translate them into a creative form attractive to others (Nguyen, 2011). This specific ability is directly associated with the uniqueness the artist will start to develop during his career, and also constitute an important part in their formation as a person as they will be able to open and expose themselves into the fierce criticism or affable acceptance of the rest of the world.
“Body Art as Visual Language” by Enid Schildkrout talks about the different forms of body modifications, and their meanings within different cultures. For example, Schildkrout says “Head shaping may be a sign of high status in one culture and low status in another, but to a total outsider, these practices may appear to be simply mutilation.” In this quote, the author talks about how one body
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
With the use of red and white color in Ana Mendieta’s Mutilated Body on Landscape, the photograph creates a darker and graphic visual tension surrounding the work. Mendieta is conveying the death of an innocent and she canonized the figure into a saint through the use of a color. Although the shape of the body is discernible, Mendieta made the gender and the identity of the figure rather ambiguous to convey the form is representing a human being . She also conveys through the materiality of the blood and animated heart, that the figure is filled with dramatic emotion.