Norbert Schwontkowski was a German painter who born in Bremen-Blumenthal in 1949 and died in Bremen in 2013. He studied painting at the Hochschule für Gestaltung in Bremen and became a professor of painting at the Hochschule für Bildende Künst at Hamburg. He had his first solo exhibition in 1973 at the art show Böttcherstraße in Bremen. From the muted colour palette to the surreal landscapes, Norbert Schwontkowski captured the isolation in human psychology. He likes to play with the unconscious and the surreal. Norbert Schwontkowski’s paintings mostly present a simple figure or object, sometime a scenery or landscape. He identified with the idea of poetry in his paintings, each of the paintings is a story being told. It's a sudden moment of happening, appear like a dream with no beginning and ending. As he came from the German Romantic and Nordic tradition, he believed that this is how painting works, as in a sense of poetry. He paints mostly from his …show more content…
For example the building with many windows, some of which are closed and some are wide open, in Hotel De (2005, fig. 6), the lift boy who stop the lift door from closing in Hotel Malewitsch (2010, fig.7), or the ship that sailed close to the shore in Alter Hafen (2006, fig.8). These places or object are where people gather. They resemble, come and go. Hotel is a temporary stop for people who travel, and taxi, train or ship are the transportation. These paintings talk about human existence. There is a loneliness as people pass through these place restlessly. They left no traces of their presence, only the feeling of isolated and distant. Norbert Schwontkowski was a traveler who observed the world. He travel through foreign countries and meet the people living in them. He collects stories and at the same time wonder the presence of human and existence of human and his
He got a lot of his inspiration from his mother. She loved painting with water colors and making
This extract emphasises the lonely, outworld feeling that would have been felt living in such settings. This puts into perspective the feeling that will be felt during the coarse of the plot development.
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...
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)”.
Simon Wiesenthal life and legends were extraordinary, he has expired people in many ways and was an iconic figure in modern Jewish history. Szyman Wiesenthal (was his real named and later named Simon) was born on December 31 in Buczacz, Galicia (which is now a part of Ukraine) in 1908. When Wiesenthal's father was killed in World War I, Mrs. Wiesenthal took her family to Vienna for a brief period, returning to Buczacz when she remarried. The young Wiesenthal graduated from the Humanistic Gymnasium (a high school) in 1928 and applied for admission to the Polytechnic Institute in Lvov. Turned away because of quota restrictions on Jewish students, he went instead to the Technical University
himself through his mediums. He used oil on canvas for his medium in this painting. There are
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
Stephen Marche Lets us know that loneliness is “not a state of being alone”, which he describes as external conditions rather than a psychological state. He states that “Solitude can be lovely. Crowded parties can be agony.”
His own loneliness, magnified so many million times, made the night air colder. He remembered to what excess, into what traps and nightmares, his loneliness had driven him; and he wondered where such a violent emptiness might drive an entire city. (60)
The Wachowski brothers began writing the Matrix in 1982, after 16 years of perfecting the script they began filming for production in 1998 for it to released spring of 1999. The Wachowski’s make many argument throughout the film about technology. The Wachowski’s appeal to the audience's’ sense of pathos, ethos, and imagery. The speaker of the film were the Wachowski brothers, they were showing what dystopia technology could bring by spreading their fear of technology. During the film they appealed to many different audiences and created many different tones throughout the scenes.
Robert Frost, an infamous poet best known for his original poetic technique, displays a reoccurring idea or theme of loneliness and isolation throughout many of his published works. The ways in which Frost represents and symbolizes ideas of solitude and desolation in poems are somehow slightly or very different. Loneliness and isolation are illustrated through Frost’s use of the dark night as well as depression in “Acquainted With the Night”, the objects the speaker encounters in “Waiting”, and the sense of abandonment and death in “Ghost House.”
...iance, readers are capable of seeing how citizens in the world today try to be independent of others and sustain their personal beliefs and philosophy. Individuals have to put an end to conformity and trying to be a duplication of everyone else because they will never achieve success if they never decide for themselves. A person must not rely on the judgment and minds of others and learn to think for him or herself since depending on others only exhibits a person’s inferiority to larger institutions. People must stop using travel as an excuse to evade personal problems because if they do not have a direct confrontation with the dilemma, trying to escape will only lengthen it. People in today’s society must appreciate this work so they will approve of their individuality and be stronger in fighting against everyone else that disagrees with their personal philosophy.