Paul Klee was born on December 29, 1879. He later died on June 29, 1940. He was born in Munchenbuchsee, Switzerland. He was the second of two children. His father, Hans Klee, was a German music teacher. His mother, Ida Frick, she was trained to be a singer. Klee started at a young age to draw at paint. At age seven, he played the violin, and at age eight, his grandmother give him a sidewalk chalk. Klee appeared at a young age to be talented in music and drawing. He also followed his parents’ whishes, he was focused on becoming a musician, but he decided to study Visual Arts, when he was a teenager. At his teen years, he appeared to be rebellious, this lead him to believe that modern music lacked meaning of him. “I didn’t find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement,” he said. As a musician, he played and felt emotionally bound to works of the eighteenth and nineteenth century. But, as an artist he craved to explore radical ideas and styles. At sixteen, Klee’s landscape drawings already show talented skills. Around 1897, he started a diary, in which he kept until 1918. This diary has provided scholars with valuable insight into his life and thinking. During his school years, he drew in his school books. Which, he demonstrated skills with line and volume. On his own time, in addition to his interests in music and art, Klee was a good reader of Literature, and later a writer o Art theory and Aesthetics. With the permission of his parents’, in 1898 he began studying Art at the Academy of Fine Arts in Munich. He excelled at drawing but he seemed to have a lack of any natural color sense. He said, “During the third winter, I even realized that I proba...
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...h figures of animals and people. I like that his work was very abstract. I like when he reflected his dry mood and varying mood, and he also expresses political convictions. I like when he used poetry, music and dreams and sometimes he included words or musical notation. His work relates to me because I like to work in art and invent my own style to create my pieces of art. I imagine my life colorful, and he uses a lot of colors to create his work. I like to use the resources that I have available to create a single piece of art, like he did. What I admire from him is that he never gave up, he always tried to work on his skills and improved them, and he accepted pressure from his friends in a good manner. I also like from him that he always tried to create his own work in his own style and he combine a lot of styles of art to create a single piece of art.
Marks, Claude. World Artists, 1950-1980: An H. W. Wilson Biographical Dictionary. New York: H. W. Wilson, 1984. 48-49. Print.
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...
... previous jobs to convey a welcoming and educational message in his work. He makes his art clear, educational, and unconventional to express his individuality and help children in their development. Had it not been for his first couple of jobs, the teacher that showed him the banned painting, and his love for children he probably would not be the memorable artist that he is today.
The son of Jewish immigrants and the youngest of five children, Aaron, grew up above his parent’s successful Brooklyn, New York department store. He credited his business abilities to his experience helping to run his parents store. His sister, Laurine, introduced young Aaron to ragtime, opera and was his first piano teacher. At the age of seven, he was making up tunes at the piano and was notating short pieces at twelve years old. Aaron’s first formal piano lessons were under the instruction of Leopold Wolfsohn (1913-17) and later he studied under Victor Wittgenstein (1917-19) and Clarence Adler (1919-21) (Pollack, 1:Life). However, lessons in composition and music theory were under the tutelage of Rubin Goldmark, “an old-fashioned teacher...against whom Copland rebelled” (naxos.com). During this time, Aaron was enamored with Scriabin, Debussy and Ives (which Goldmark called “dangerous”) and he scoured New York’s public libraries for the latest American and European scores. Finally, Aaron’s dream of studying in Paris came to fruition (1921-4) taking piano instruction from Ricardo Vines and studying composi...
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)”.
... The feelings you get when you look at art work by Kahlo are strong. A person either hates it from the moment they see it because it’s horrific or you love it because it is such profound work. So much meaning is established in every painting.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The music he produced had a lot of control with a lot of flair. He liked improvisation, but did not leave that up to the performer. Instead, he wrote very virtuosic passages for his pieces, with which the performer did not have much room for imaginative playing. Then there is his knowledge on how to writ...
On February 6, 1918, Gustav Klimt died of pneumonia just a month after he suffered a stroke that paralyzed the right side of his body. Klimt was quoted as saying, “Whoever wants to know something about me – as an artist, the only notable thing—ought to look carefully at my pictures and try and see in them what I am and what I want to do.” If we follow his instruction, we will undoubtedly appreciate the passion and creativity he had for every genre of artistic expression. His talent proved limitless while pushing the norms of society and transforming and expanding his craft in ways that exceeded the expectations of all.
In the early twentieth century, the Russian born painter Wassily Kandinsky, was well known as the leader of the abstract movement. Kandinsky was born in Moscow on December 4, 1866, in which he discovered his love for drawing and painting. Kandinsky was inspired by Monet which resulted in the desire for him to experiment different ways using color on canvas. Kandinsky’s love for art started when he was just a young boy. His parents were both interested in music; however, their marriage ended in divorce leaving five-year-old Kandinsky with his aunt in Odessa. With his aunt he learned to play the piano and cello in grammar school and also studied drawing with a couch. Kandinsky followed the wishes of his parents and went to law school at University of Moscow. After he realized that a career in law wasn’t for him, he decided to abandon his career and move to Munich to devote his time and effort to art (Bio.com 1).
how much he admired him that the painting he did was thought to be the
Kasimir Malevich, a Russian painter and designer, was born near Kiev on February 26, 1878 (Guggeheimcollection.org) and was “one of six children from Russified Poles” (Articons.co.uk). While living in Ukraine, he became absorbed into art during his teens, “largely teaching himself” the basics (Articons.co.uk). After saving his money “from his job as a railroad clerk” (Articons.co.uk), Malevich enrolled in the Moscow Institute of Painting, Sculpture, and Architecture in 1903 and began to study art more seriously. Later he trained at Kiev School of Art and Moscow Academy of Fine Arts and “produced portraits, landscapes, and genre scenes” in his early stages of his career (Artstudio.com).
Influenced by the futurists and is known to have been one of the founders of Constructivism, he left painting because of its decorative aspect and subjectivity. He was more interested in carrying on a universal language and believed that art should serve a cause. In these harsh terms he completely discarded painting, saying “Down with art if it is an escape route from a meaningless life! Not for art that reproduces the external world, prettifying it with a decorative mantle, but for a constructive art that reflects our way of life.” (The Future is our only Goal)
A leader in the renewed attempt of art as science was Hippolyte Taine, who proposed that styles of art should be studied in the same way as plants are studied by botanists, and are subject to the same evolutionary development. At the same time in Germany, the name Kunstwissenschaft was applied to the historical writings of Semper, Fiedler, Burckhardt, and Riegl. In their writings, they strove for neutrality in comparative analysis i...