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Art as communication of emotion
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Particular, is a word used to single out something or someone who is great or intense. It is the word I chose to describe Kouros of Tenea, an ancient Greek statue of a young man. The work of art caught my eye just seconds after walking into the room. While I did notice every other statue, this is the one that brought about my curiosity. The artist, anonymous, built the statue around the mid-6th century BCE where it is now on display at the Glyptothek Museum in Munich, Germany. Throughout that time, the Greeks had begun building sculptures of young men and women. Kouros of Tenea was originally created using marble, and was later reconstructed using plaster casts. It was the mixture of creativity throughout the figure as a whole that captured my attention. Although the statue itself did not represent emotion, the artist was successful in bringing about my emotions. Kouros of Tenea illustrated a vigorous frontal pose of the body accompanied by a soft natural looking face. Surprisingly, the artist made me feel a sense of strength and serenity. While the combination of these words isn’t typically found together, several aspects of the statue’s structure made it possible.
When beginning my sketch, I took a moment to analyze the work of art and found that the statue illuminated a sense of serenity. Like most viewers my initial reaction was to explore the statue from head to toe as I sought out the different elements and principles of art. The statue was close to life-size and just about my height, so looking straightforward we were eye to eye. I noticed the softness gathered about the facial structure, but all the same time the depth and complexity that was engulfed around the muscularity of the body. The rigorous symmetry was accounte...
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...hat surprised me the most. It is rather fascinating how the human anatomy in the mid-6th century BCE was as ideal to the human anatomy today. The artist is presenting the viewer with an ideal illustration of a male, and considering I was in awe of the bodily features, I think the artist’s presentation was nearly flawless. The artist also gave me the opportunity to feel a mixture of emotions throughout the sketching of this work. While the context within the facial structures felt relaxed, and the contouring within the leg muscles was strong, the artist created an equally balanced environment between the two. This balance was the reasoning behind my emotions of strength and serenity. Kouros of Tenea represents a strong man with a rather calm state of mind; at least that’s how I see it. This work of art defined something great and intense. It was in fact, particular.
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
The theme of hopelessness is proven through poverty statistics during the time the story is taking place. But the film’s overall purpose provides proof as to what drives Chris Gardner to pursue happiness through dreams and determination. With the aid of visual cinematography and setting context the logos of the film is uncomplicated and artistically arranged to convince an audience of the situations they witness in the film. Themes in a film differentiate depending upon whether the plot of the film had shifted to reached its climax and while the themes may differentiate, most films all incorporate the use of pathos, logos, and ethos in various ways. A great example of the use of these three principles is The Pursuit of Happyness as it
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
The subject does not accurately depict the human anatomy. In fact, while studying this figure, one may notice that geometric shapes make up many of the limbs. For example, the artist uses ovals to represent the palm of the hands, the shoulders and the knees. The man's chest is in the form of squares with rounded edges and with perfect little white circles as nipples. This...
Polykleitos’s focus on proportion was mathematical in its exactness and thus created a manikin–like form in its sharp separations between appendages (obvious in the exaggerated indentation between the upper thighs, groin and waste region). This unnatural yet understandably idealistic (perfect abdominals, wide chest region, etc.) rectangular presence leaves Doryphorus appearing rigid and fixed in space. Some say Polykleitos designed his work with a “charm beyond [the] truth” by exceeding/flouting the limits of possible physical form. However, by placing a high degree of artificiality within his work, it lacks the narrative that comes forth when presenting an alternate to the ideal (Polykleitos). Donatello utterly embodies narrative sculpture through his less rigid, more youthful and effeminate rendering of
The Greek’s images also possessed two important ideas that brought the soul of the artist and subject to the surface while still capturing the passion and action of the movement and story: noble simplicity and quiet grandeur. Greek images contained faces that were full of expression but were also balanced because they were not overcome by pain or passion because they still had nobility of soul which creates a sense of tranquility even in the midst of rage, fervor, or desire.
... portrayed almost casually, intelligently, and generally un-warlike. This universal idea of the duality within man is exactly what Aristotle felt that artists were capable of interpreting so that we may better understand and learn from it.
‘The representation of the human form likewise served to stress essential data about the subject. The shoulders are nearly in frontal view to show the width of the body and not obscure the far arm, while the chest was represented in profile to show its contour…....
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
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.
Titian’s health, inherited from his mountain race, along with his tendencies toward order, balance, and determination, defined the dominant characteristics of the art that he created. He is credited for his being capable of expressing beauty which springs from the deepest happiness of life, and granted his art with that sort of expression. His art was important and has influenced artists after him. He is considered to be a magnificent creator of beauty, which is a well-suited consideration.
...o understanding and appreciating Greek art is significant, but as seen through the writings of Gazda, Marvin and Ellen, the practice of appreciating Greek sculpture as presented by the conservative historians is of detriment to the writings and perceptions of historians, as well as the general education of the public. Unfortunately, due to the popularity of the abovementioned historians during their times of writings, methodology including Kopienkritik has remained a valued and prevalent approach to judging and analysing of both Greek and Roman sculpture, despite increased criticism. All of these factors serve to undermine the validity of the construct, and show that while the construct may have suited and served the purposes of those who created it, it does nothing to legitimately further proper and rational history of Greek and more specifically, Roman sculpture.
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
Happiness is the goal of every human beings according to Aristotle, however what does happiness imply? It is in his attempt to define happiness and to find a way to attain it that Aristotle comes across the idea of virtue. It is thus necessary to explain the relationship between these two terms. I will start by defining the good and virtue and then clarify their close link with the argument of function, I will then go into more details in explaining the different ways in which they are closely related and finally I am going to give an account of the apparent contradiction in Book X which is a praise of the life of study.