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How color experss emotions
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#1. With regard to the subtractive method in sculpture, Sporre states on pg. 71 that "whatever the artist's choice [of material], one requirement must be met: the material to be carved, whether wood, stone, or a bar of soap, must be free from flaws." What are your thoughts on this assertion? I disagree with Sporre because there should not be any requirement s to artwork. The reason is what if the artist doesn’t want to carve the material. I think the artist needs to do what they think not what Sporre thinks because he is not the one who is doing their art. When you are looking at a sculpture do you want to ask your self did they make that out of their own ideas or did they just make it because they had to do the requirements that have to be …show more content…
Does it mean mistakes, or that you have to do a certain thing to make the sculpture? I think it means that if you don’t do it that way it’s not going to look right. I am sure there are many different meanings for different people. As a said in my first paragraph that it’s not going to me a mistake if you do it how you want and you think it looks right. #2. With regard to color in sculpture, Sporre states on pg. 74 that "color is as important to the sculptor as it is to the painter." Do you agree with this statement? I agree with this statement because color is important and the color makes the picture brighter. When you color with different colors you can see the different lines of the paint that you couldn’t see before or that was hard to see without the paint. Some of the sculptures already have color in them when the artist is done making them. Like in the picture there is some white and black in the sculpture. But if the artist would but some color to the face it would show the lips, eyes, and nose a lot better. Also the color in the sculpture will make it stand out and I like to use color when I am coloring or when I am painting something because it brightens up my mood and it makes it look prettier I think. Some people just like the color black and white because they like the natural. They might also like it because it will look better on that one
... shapes but could not understand the point it was trying to convey. Now that I have read and learned about Meadmore, I can distinguish the three goals that Meadmore intended for. I see the flexibility of simple geometry and how it can express dynamic movement through this sculpture. Overall, it is interesting how Meadmore’s life and ideas relate to his artistic design, “Always.”
From the front view, the sculpture seems like a growing tree. The color is dark brown and the whole body is mainly in the same tone. In this view point she is mainly in a straight line, the top seems larger than the base. We can see that although the sculpture is pretty thin but the weight is well balanced. Her two vividly hands are gently open reaching
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Art is a language of its own and with out he proper understanding, people are like expression goes “left on the outside looking in”. In other words, people without the proper understanding of art, technique and form as well as other elements can’t appreciate a work of art as much as when you understand why an artist painted in the way they did and what they are trying to get across to his audience. Despite artists attempts to try and make their works as viewer friendly as possible, without the understanding and knowledge gained from an art class as this one people will never fully understand the a work of art as it is meant to be.
Artist learn the laws of nature, the chiaroscuro, color, form, and line of the art. He asks the true aim, the content of the art? One school of thought is the view that art helps in bringing whatever the spirit of a man conceives. The art aims to purify the passion. Art, as compared to history, is free will and free mind, which gives one a fair chance to select the subject of choice.
.... All factors have to be considered in analyzing an artistic work and produce for the correct meaning, to be given to it.
I chose Auguste Rodin’s The Thought as the artwork to write about in this paper. This paper will introduce the style, context, and subject of Rodin’s The Thought. Besides that, the paper will also demonstrate that although Rodin is considered as forerunner of modern sculpture, he didn’t reject elements of great artists of the past.
In conclusion, it is important that art continues to be gauged on its effort and ingenuity in order to be considered art at all. Otherwise, our cultural tendons will weaken and give way to the unmistakable infiltration of nonsense and effortless trash. We should be accepting of all art as long as there is some semblance of effort or ingenuity.
There is no requirement of beauty in art. Indeed, some of the highest quality in art is attained by some of the ugliest things. An example is the film, Schindler's List. Its representation of oppression and violence is revolting at times, but its ability to convey a clear message is strong. Perhaps the most appropriate gauge of quality in art is its effectiveness in communication.
Each drawing. Each painting. Each sculpture. It can give you a glimpse of what is going on in the artist’s head. Take the painting “El Autobus” by Frida Kahlo as an example. It has been said that the painting is in reference of the accident Frida Kahlo had where she got impaled by a metal handrail. The painting is of a bench with people sitting on it just before boarding the bus. This kind of artwork, where the artist puts a little bit of him/her self in it is something I strive for. I want to make art that reflects me, or that means something to me. I don’t want to make something just because, I want it to be where the viewer could possibly see the hard work, the passion, the emotion behind it. Things that most times get
WILLIAM RUBIN said, “There is no single definition of art that's universally tenable. Cultures without even a word for art nevertheless produce great art, for example, the ancient Egyptians. Since the Industrial Revolution, Western societies have felt their social values in continuous flux and their received definitions of art under constant change. Basically, the larger public makes a subjective determination: I know art when I see it.” Art is constantly changes. New techniques are forming. People need to be open minded and see what the artist felt while creating. We are too quick to form an opinion, and that can hurt us. We will miss out on the message, if we don’t take the time to study the piece. Aesthetics is a major factor to people. They need to dig deeper to find the underlying message.
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.
Artist way of thought is different than the average designer. Artists usually try to develop a work of art with the intention of bringing an emotion viewpoint, instinctive feeling, and or state of mind. If someone has visible talent in the art field, it usually comes down to a natural born ability. When dealing with artist you have to understand their mentality. The artist mentality comes down to the artistic skills and abilities that the artist is born with. Everything the artist creates flows out naturally from their abilities they were born with and not just their abilities that they were trained...
create sculptures that explore the tensions between functionalism and formalism. However, quoting other sources is not simply about "shifting an item from one context to another; in her hands it became a form of translation with all the distortions and misunderstandings that this implies."' These works are not readymades: even when she maintains the scale of the original, she alters its material, bringing new connotations to the form. As she once declared: "Materials are not just