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Vincent van gogh analysis
Vincent van gogh analysis
Vincent van gogh artist analysis
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A Deeper understanding of Victor Brauner: Life is not always fair I found that when admiring a piece of art work, I take that time to imagine myself going back in to the past and seeing what the artist intentions were when forming their own idea and expressing it onto a canvas. We obviously cannot go back in time, but I feel as if my goal is to put together their life in just this one piece of artwork. There is always this feeling I get when I’m captured by painting or drawing, I want to stretch my hand out and get sucked right into the painting and see the world through that artist eyes.
Visiting LACMA for the first time, I was very open minded and excited, mind you it is a new experience for me and I was experiencing a state of calm and relaxation, until I fixated my eyes on a piece that had me extremely curious. The painting I fell upon is called “Suicide at Dawn” and was created by an
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I loved the color scheme he used both the red and white of the two bodies reflected very well off the black background and kept those figures in focus. I feel as though the artist could have actually made the figures more grotesque could’ve added some more blood dripping from where the demon like figure is piercing his way through the human body and could have even painted the figures skeletal like, more details could have made the painting exceptional. Then again the artist could have intentionally made the painting exactly the way it should be and found that in his mind it gave off the right amount of shock to have viewers become entranced in his work. From my point of view it evokes emotion and curiosity, this painting could relate to those who feel they have lost a sense on life, but to not let the chaos swallow you whole, you do have a purpose and go out a discover what you can for yourself or for the world. This painting is true to
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel
The passing down of history and experience from one generation to another is what makes the painting so interesting to me.
The Resurrection was made by Francesco Buoneri, known as Cecco del Caravaggio around 1619-20. The oil on canvas painting was commission by a Tuscan ambassador. Its new permeant home is in the Art Institute in Chicago. I chose to look at this painting for many different reason. The Resurrection is an amazing painting that through basic size, composition, and theme that captured my attention.
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
In the painting the skin tones of the people who are dead is drastically lighter than those of the people who are alive. It also uses color to show the darkness of the clouds which means that there was a storm and it uses lighter colors for the sky which means that the storm has passed. The painting uses color to draw your eye to the people waving their colorful clothes around. This in return draws your eye to the spec of color on the horizon which represents a ship. On the other hand, it also draws your eye to the man who is holding a little boy toward the back of the ship with the color of what appears to be a scarf on his head. In all this shows that color is used to help give the feeling of chaos and disaster in the
and that there are deeper meanings to think about. I saw the different emotions that the art work
Modern art serves to immerse us more thoroughly in a scene by touching on more than just our sight. Artists such as Grosz, and Duchamp try to get us to feel instead of just see. It seems that this concept has come about largely as a way to regain identity after shedding the concepts of the Enlightenment. “Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness...” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
...th color, the way he used color when it was used conveyed what was important in the piece. The body as it hangs lifeless from Saturn’s death grip is dripping with blood and it is even between the white knuckles of Saturn. In having Saturn’s knuckles white it emphasizes his grip that is so strong on the body he is drawing blood from the back. It is showing his passion in that the deed has to be done. His expression is wild and his stance is cowardly showing that he may not have wanted to do what he was doing. The message in the painting is that time consumes us all, and that is by having the god of time eating a faceless body. There is another message in this too, I believe and it is that people will do almost anything to keep their reign in power. I found this painting very stimulating and gave me many emotions. I think just because of that the piece is successful.
Both The Yellow Wallpaper and The Virgin Suicides are told in first-person. The former, singular and the latter, plural. While the stories themselves are different in terms of content, the narrative used is very similar, and the narrators share similar characteristics through their respective stories. The narrators in The Yellow Wallpaper and The Virgin Suicides suffer from a neurosis of sorts, affecting how the reader understands the story. The narrators experience severe obsessive tendencies, prompts that cause them to retreat to a more juvenile state of mind, and are ambiguous about themselves. This mental impairment shown by the narrators changes how the readers interpret the
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
In the poems, Suicide Note by Janice Mirikitani and Dreams of Suicide by William Meredith, the element of suicide is unmistakably the theme. Although both poems are tragic and melancholic, each poet focuses their attention on different aspects of suicide. Mirikitani dissects the inner thoughts of the speaker and focuses on suicidal ideation, while Meredith’s version brings attention to the suicides of three writers by dedicating and honoring them individually. In Dreams, “the speaker conveys his own empathy for those writers who could not survive the struggle to reconcile art and life” (Kirszner & Mandell).
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.
"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.