Painting it and naming it aspiration didn’t just happing, the name goes with the paint and it describes exactly what he painted. According to dictionary.com Aspiration is a strong desire to achieve something, such as success, and that’s exactly what he felt about black people and what he had hope for them. Aspiration (1936) by Aaron Douglas (1899-1979) and L 'équipe de Cardiff (The Cardiff Team) (1913) by Robert Delaunay (1885-1941) are two great painting with a positive message. Douglas and Delaunay message or goal are the same. Douglas was known as the Father of African American art, and his paintings display elements of cubism. Douglas was a painter born in Topeka, Kansas, he earned his B.F.A. from the University of Nebraska (Sayre 95). …show more content…
Largely self-taught, he was apprenticed to a firm of theatrical set builders from 1902 to 1904. By 1910 Delaunay 's work was showing the influence of cubism and, together with his wife Sonia, he became the leading practitioner of 'Simultanism”, an offshoot of cubism and futurism. Delaunay was the first French artist to produce completely abstract pictures, at the end of 1912” (Nationalgalleries.org). L 'équipe de Cardiff oil on canvas 10in 8ft x 6 in.10 ft. was looking forwards as was the rest of the world. “Everything in the painting seems to rise into the sky as if, for Delaunay, the century is “taking off” much like the airplane. Even the construction company’s name, “Astra”, refers to the starts (Sayre 67). To him the country was taking off, during that year Ford Motor Company introduces the first moving assembly line, the world first largest train station to building cars. In France Igor Stravinsky 's “The Rite of spring” is premiered to Tour de France.
The aspiration colors are vibrant they complement each other greatly and they don’t bleed to one another. The painting seem realistic. The brush work look polished, his style is very different and stand out as representing the Harlem Renaissance and the concept of the "New Negro" age. Black Americans will not bow to anyone, they have every reason in the world to be proud and they don’t need anyone approval. How he frames the figures in Aspiration a universal technical
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The motif derived from a newspaper photograph of a Cardiff-Paris rugby match, which showed players jumping for the ball. Delaunay added Paris 's famous Ferris wheel and an 'Astra ' billboard, which advertises an aircraft construction company. The letters on the hoarding to the right derive from the artist 's own name. He’s painting filled with French cultural reference. Delaunay was a modernism painter, he painted things that stand out to him and thing that will last centuries. The Ferris wheel, the airplane, the players wasn’t just features to him that was popular during that time but also he sees them as things that have to be moving. L 'équipe de Cardiff is all about team; it takes a team to win a game, a team to flight an airplane, a team to build a Ferris wheel, a team to build an aircraft, it’s a team or group of people to build the country, it’s also take a group to make the world work.
Aspiration and L 'équipe de Cardiff are different in Perspective, Technique and Compositional Features but the painters, Douglas and Delaunay wanted to show their view of their people and their value in way that not only look great and beautiful but to show them exactly how they felt and see it. A picture is worth a thousand words, Aspiration and L 'équipe de Cardiff have demonstrates that and
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
I selected this picture because as soon as I walked into the Evans wing it jumped right out at me. The painting's huge size and grandeur drew my attention. I like the use of bold colors and strong details. The painting evokes an image of power with the muscled Automedon holding two giant horses.
...ce was recognized for his talent. Despite the primitive look of Lawrence’s painting the gesture are read and reveals a set of principles inspired by African-Americans. Thus, the modernist aesthetic of his art shows the critical faith of a people oppressed and striving to get ahead. Therefore, elements of his work and themes like man’s struggle produce one of the United States most famous African-American Artist of all times Jacob Lawrence.
Between 1910 and 1930, Harlem began thriving with African- American arts such as literature, theatre and painting, and music. This era was soon known as the Harlem Renaissance. During this time racial pride became a very big thing among African- American artists, but the only problem was how to best show this pride. Both high art and folk art can give a good expression of racial pride.
Gun-slinging, militant-looking, irate adolescent African American men, women, and children: an incessant image employed by the revolutionary artist Emory Douglas. Douglas is perhaps one of the most iconic artists’ of the 20th century and has created thousands of influential protest images that remain unforgettable to this day. Through the use of compelling images Emory Douglas aided in defining the distinct visual aesthetic of the Black Panther Party’s newspapers, pamphlets, and posters. It was through such mediums that Douglas had the ability to enlighten and provoke a predominately illiterate and uneducated community via visual communication, illustrating that art can evolve into an overpowering device to precipitate social and political change.
as "the New Negro Movement" later the Harlem renaissance." The art today isn't really memorable
The people of the black culture need a motivating force behind their community. They need a black aesthetic to motivate them and incline them to support the revolution. The black aesthetic itself will not be enough to motivate the people; they will need black art to help them understand what they are supporting. The art in the black culture needs an aesthetic to get the message across to its viewers and allow them to understand the meaning behind pieces of artwork. One of Ron Karenga’s points is how people need to respond positively to the artwork because it then shows that the artist got the main idea to the audience and helps to motivate them to support the revolution. In “Black Cultural Nationalism”, the author, Ron Karenga, argues that
The ,Adoption of the Human Race, induce an intense feeling of sadness ,despair and possibly a glimmer of optimism. The pain of a nation radiates from the painting but the belief that a supreme spirit continues to keep his nation safe from the perils of the world. The great spirit chief desperately tries to keep his great nation from suffering ,but the people are becoming disconnected. The disconnection can be interred because the chief fingers aren't interlaced .
He depicted the figures in his paintings with dignity and grace. He got his ideas from several different sources. He used repetitive patterns and a lot of different colors and designs which are commonly found in a quilt or an African textile. He made up to as many as 60 paintings, 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.
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
This group ran their own exhibition, and over time, became some of the famous names we know today, such as: Claude Monet, Edgar Degas, and Alfred Sisley. However, it was not all fame and fortune from the beginning. Most patrons who came to the exhibition were so used to the classic, disciplined style that they often criticized the artists’ works, calling them “unfinished” and offended that they could showcase “sketches” as finished pieces. But this is exactly what these artists embraced; letting go of formality and embracing the “freedom of technique” (“Impressionism”,
"For the first time since the plantation days artists began to touch new material, to understand new tools and to accept eagerly the challenge of Black poetry, Black song and Black scholarship."1
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
To look at Charles W. White’s paintings is to see early 1900s Black America through the lens of a social realist. African-American novelist Ralph Ellison stood behind men and women, like Charles White who used art to express their personal views on their experiences of being Black in America (Heritage Gallery). “Most of the social realists of the period were concerned less with tragedy than with injustice,” said Ellison during a 1955 interview published in the Paris Review. “I wasn’t, and am not, primarily concerned with injustice, but with art” (Chester 1955). As early as the late 1700s, blacks began narrating and writing autobiographies in an effort to create “in words, a portrait of a human being” and to combat the derogatory images prevalent in American visual art forms (Gates 1990).
..., transcendental lighting, and color contrast. No less is this a religious experience than the visits to classic cathedrals that dominate the French landscape from the shores of Mont St. Michel, to the Ile de la Cite’s Notre Dame, to the countless other examples of the French expression of faith through architecture. I must admit to surprise at this overwhelming reaction on my part to Matisse’s talent as an architect and designer. Winding up the mountains to this remote convent, my mind questioned the wisdom of the trek as my comrades enjoyed the Riviera once more at the beach and I thought to myself, just one more church. Never did I expect such a transcendental experience as my visit to this modern masterpiece. Long after the suntans will fade, my memory of this place will deepen my appreciation of Matisse’s art and the importance of the effect of art on culture.