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Recommended: Art
This semester we were supposed to go see a piece of art and for the convenient factor I went to the Weil Gallery located on the first floor of the Center for the Arts on campus. Unfortunately I couldn’t take a selfie with it because they didn’t allow pictures so I just took a quick sneaky picture of the piece of art by itself. The piece I choose was made by Michael Scoggins in December 25, 2011, with a colored pencil on a gigantic piece of notebook paper about the size of an average person six feet .Well actually all the pieces were made by him as this gallery was his view of America. This gallery was called Michael Scoggins: Americanism, which fits exactly in to this artist’s style and background. “The work I make is always political,” says Michael Scoggins, who lampoons American and art-world politics and …show more content…
Lines are probably one of the most emphasized elements in this piece, as Jesus is almost completely made from lines and he is the center piece of this work. The Lines were used to define boundaries of shapes and spaces in most of Jesus like his hair and clothes. Also, lines were grouped to depict shadows and form patterns or textures, in his neck, head, hands, and clothes. It’s safe to say that Jesus in this piece is made up almost entirely of lines, with little shading and no color. Therefore it intertwines with the other elements like shape, mass, light, color, and texture in this piece, which is great as the piece would of have seemed more flat and inhumane. Also space, but more particularly implied depth was used on the sun behind Jesus with vertical placement and overlap elements. Probably to emphasize the holiness of Jesus as the sun is portrayed shinning on him and is the only real color used in this piece. There is no actual motion, but implied motion using Jesus’s hands that was used to make this piece seem more real and not as
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
Art has always been used to portray a message, American art is no different. Throughout the years American art has been created for many different reasons, including parody and satire. One such example is the painting The Surrender by Joseph Griffith. Although it contains jumbled imagery and may convey a mixed message, The Surrender's main message is that American culture is idolized by the youth of today and that American as a whole is waging war on cultures and religions it doesn’t understand.
Masaccio used a technique called linear perspective. This technique allowed Italian artists to measure space so that all the objects in the painting are in proportion to each other. In this painting, Jesus is put intimately close to the scene by using linear perspective. An illusionistic hole is painted into the painted wall and this makes his portrayal more believable. Masaccio also used the technique of tonal modeling which created believable, almost sculptural figures proportionally related to one another to occupy that space. Both of these techniques helps to create good proportions and make the painting more realistic. Another technique that he uses is stage modeling. This means that the holy trinity is meant to be viewed from below and at a distance, like actors on a stage before an audience. In particular, this approach is based on a more human- centered view, locating a single spectator that is standing at a particular spot. In this painting, Jesus is the focus of the painting. In contrast, the Annunciation panel (from the Merode Triptych), which was painted by Robert Campin uses other techniques that greatly change the way the painting is
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
The table placed like a long horizontal line through the whole painting, both the formatted of a stable atmosphere. Plus, the image of Jesus' calmness, majesty, and the composition of the twelve disciples on both sides of the composition, forming both static and dynamic. At the same time, the table put against the audiences while adopted a completely open art approach, so that audiences could to be immersive. Leonardo da Vinci combined thirteen characters with full expression of both different and closely
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
The main theme can simply be seen easily is religion. At first glance you can see why the title is so fitting. The Angel is seen pointing up while hold a tombstone, as if leading Jesus up. Jesus is shown above him pointing in the same direction almost as if talking about heaven. You can tell who Jesus is not only by his placement but by the cloth, light halo, and possible makes on his head from the thorn crown. The dramatic size as well gives it a religious feel. Cecco again shows he uncanny ability to resemble Caravaggio to build connection. Caravaggio’s work surround religion had the ability to provide “ direct communication..[and] establish” a bond “between the spectator and the sacred scene[s]” (Chorpenning 145).“When standing up close I felt that looking up I was another person there looking to where he is pointing. The dramatic scene is something to behold in person that is so interesting. The contrast of the angel and Jesus who are lighter than anyone else from the dark background make them stand out. The light sources that help bring in contrast is like a ray of light or even a spotlight light. The way the light falls helps reinforce the importance of Jesus and
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
A common topic of artwork throughout history has been the crucifixion of Christ. Since it is such a common topic, it makes it very easy to see how artwork changed and developed from the Middle Ages to the Renaissance. The painting on the left, The Crucifixion by Pietro Lorenzetti, shows the usual characteristics of a painting from the Middle Ages. The facial expressions are not varied or very in depth, Jesus and the other saints have the typical halo that is used very often, and the colors are mostly all bright, making nothing in particular stand out. The second painting, on the right, is by Caravaggio and is titled The Flagellation of Christ. There is an obvious shift from one painting to the next. Caravaggio’s piece is much more realistic.
There is a cast of five different characters, which includes the angels and Jesus Christ himself. This painting seems to be symmetrical as there are two figures, or angels, on both sides. Christ is in the center and the angels are surrounding him. He is also in the foreground, upfront, whereas the angels appear to be in the background. Christ is dominating the pictorial composition, and is the main focal point of the work, guessing from his centered location in the painting. There are no real vibrant colors used in the painting, even the bright colors shown feel darkened as if the figures are in the shadows somewhere, and light is peaking in, shining off all of them. If the lighting wasn’t as dark, the colors would surely be brighter. Christ himself is nude, whereas the angels are each clothed in different colors. There is a warm light that makes Christ appear soft. The color schemes of the clothes the angels are wearing appear to be a lot of red, green and white. The painting helps us to understand that the main focal point of the piece is Christ. Not only is he the largest figure and takes up most of the painting, the light is directly shining onto him and leaving the angels to be darker, in the shadows. The angels have light on them to show they do have a presence but not nearly as much as Christ. Additionally, the left side of the bench that Christ is seated on, if looked at closely, appears to be
Colour is the light reflected off of objects and is categorized by hue, value and intensity. Hue is the name of the colour shown, value is how light or dark it is, and intensity is how bright or dull it is. The main hue’s shown in this painting are red, white and gold. The colour red on the people’s clothes really showcases the people and makes them the main focus of the painting. Specifically, Christ and his disciple’s in the foreground of the painting are really showcased through the colour of their clothing. Also, the white contrasts with the red, showcasing the white tablecloth, the white pillars in the background, the white apron around Christ’s waist, and the dog sitting in the front. The value of the colours throughout the art piece are all very dark, making the piece very gloomy and intense. The dark colours, as well as the darkness coming in from both sides of the painting make the painting very expressive. The deep red colour really captures the expression and meaning behind the washing of the disciples’ feet. The colours overall are not very vibrant, but very dull, which also showcases the expression around the painting and how intense the scene is. Therefore, through the formal element of colour, the artist is trying to express the realism of the
The background of the picture is some youth climbing trees to collect branches to regard Jesus. In addition to that, people on who are welcoming Jesus some of them are shy to look at him and one of them is rolling a colt in gesture of royalty under Jesus donkey. The colt seemed as if it’s a red wine, which is more likely to be, because Jesus first gift was turning water into wine. Before we get into describing Jesus we should focus on his disciples who are behind him standing shoulder to shoulder afraid from what could be happened to Jesus after they had heard the threatened on Jesus based on Jesus’s story of entering Jerusalem in Matthew 21; 1-1 bible book. Furthermore, Giotto di Bondone made Jesus the main focus of the picture via centering him in middle of the picture, putting him on a donkey and making him the largest figure in the whole picture. Giotto tried to make the scene as if it just happened in front of us to make us identify with them.
Those in attendance were jarred by the image, as Lunday notes“Opponents to the show took a contrary view-they felt as if their homeland was under invasion by a foreign artistic force and took up arms to defend America from the besieging Cubists, Futurists and Fauvists,” (Lunday, xi). The artwork here was unlike anything they had ever seen before.