Watching the film “Tim’s Vermeer” was thought-provoking to me. The film follows Engineer, Tim Jenison, as he attempts to reinvent the technology he believes 17th century Dutch Artist Johannes Vermeer used to create his masterpieces. Jenison uses a lens and mirror to reflect the scene onto a table and paints what he sees until it is a perfect match.
The idea that Vermeer used technology is not a new one. American Art Historian, Hyatt, pointed out that unlike most painters of the time, Vermeer was not in the habit of evening out sizes as modified by distance. “Now if Vermeer were painting from an image seen in the camera obscura, his eyes would not converge more for a near object than for a far one and he would tend to paint near objects bigger
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
Regardless of taste, an appreciator of art should be able to recognize when an artist exerts a large amount of effort and expresses a great amount of creativity. Understanding the concepts incorporated by truly talented artists helps the viewer better understand art in general. Both Van Eyck and Velasquez are examples of artists that stood out in their time due to their unique vision and their innovative style, and are therefore remembered, recognized, and praised even centuries after their works were completed.
Throughout the play, Romeo makes very hasty decisions, a number of that lead to unnecessary consequences. Heretofore, Romeo sneaks into the Capulet Ball with Benvolio and to cover their identity they each wore masks. Capulet allows them to enter the ball, not knowing they are from the Montague family, because he thinks it 'll be amusing for his guests,and because he remembers when he young doing similar things in pursuit of ladies. Benvolio wanted Romeo to go, therefore he could see that there were other women there who were even prettier than Rosaline, however this is where Romeo meets Juliet and quickly forgets about his initial true love whom he solely desired lust for and Romeo quickly changes his timeless love he felt with Rosaline to Juliet without any remorse. Romeo spontaneously decides he has fallen infatuated all over again, this reflects Romeo’s impulsive character. “Did my heart love till now? forswear it, sight! / For I ne’er saw true beauty till this night.”
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
The art world of photography is changing all the time. Peter Schjeldahl starts out with a very strong and well written paragraph about the world of art. Peter Schjeldahl says, “You can always tell a William Eggleston photograph. It’s the one in color that hits you in the face and leaves you confused and happy, and perhaps convinces you that you don’t understand photography nearly as well as you thought you did”. These couple of sentences are very strong and flow so well together, and they grab the reader’s attention. Peter explains how William Eggleston was known as a great American photographer.
During his short life, Georges-Pierre Seurat was an innovator in an age of innovators in the field of art. This french painter was a leader in a movement called neo-impressionist in the late 19th century. Unlike the broad brushstrokes of the impressionist, Seurat developed a technique called pointillism or divisionism. In this method, he used small dots or strokes of contrasting color to create the subtle changes contained within the painting. Seurat was an art scientist in that he spent much of his life, searching for how different colors and linear effects would change the look or texture of a canvas. He was painstaking in his work, the technique he chose taking much longer to produce a work of art.
The Art Story Contributors, “Vincent van Gogh Overview and Analysis” The Art Story Contributors Acessed July 12, 2017. http://www.theartstory.org/artist-van-gogh-vincent.htm
“Visions are worth fighting for. Why spend your life making someone else’s dreams?” These are the words of Tim Burton, a renowned director who plays by his own rules when creating a story for the big screen. Growing up different from most kids, Burton was influenced by many unique people and movies such as Edgar Allen Poe, Dr. Seuss, and German Expressionist films. He used their styles to create many memorable films himself, such as Edward Scissorhands and Alice in Wonderland. In these recognizable blockbusters, like most of Burton’s movies, the use of satire and visual features are present to support the thematic concept of conformity vs. individuality.
Vanitas, found in many recent pieces, is a style of painting begun in the 17th Century by Dutch artists. Artists involved in this movement include Pieter Claesz, Domenico Fetti and Bernardo Strozzi . Using still-life as their milieu, those artists and others like them provide the viewer with ideas regarding the brevity of life. The artists are giving us a taste of the swiftness with which life can fade and death overtakes us all. Some late 20th Century examples were shown recently at the Virginia Museum of Art in Richmond, Virginia. Among the artists represented in this show were Miroslaw Balka (Polish, b. 1958), Christian Boltanski (French, b. 1944), Leonardo Drew (American, b. 1961), Felix Gonzalez-Torres (American, b. Cuba, 1957- 1996), Jim Hodges (American, b. 1957), Anish Kapoor (British, b. India, 1954), and Jac Leirner (Brazilian, b. 1961).
“Some say they see poetry in my paintings; I see only science.” Georges Seurat said that he loved science as much as he loved art, and he used science in his art work. French painter Georges Seurat, famous for his large scale paintings was also the creator of a new style of painting called pointillism.
Accompanying the article by Edmunds are photographs of Vyse and Waller variously at work at the studio in Cheyne Row. They are pictured, as though at work throwing pots on a wheel, standing at an open kiln, and generally demonstrating their craftsmanship. Vyse poses as though he is at work on his 1930 figure, titled
These works are as effective today at inspiring the viewer as they were hundreds of years ago. The Baroque period saw an overflow of creative excess. Just as children become amazed when a magician takes a rabbit out of his magic hat, Baroque painters created the special effects of their time create the same awe inspiring magic. By balancing color, light and shadow, perspective, illusionism, linear perspective, naturalistic figures borrowed from antiquity, and other trompe l’oeil techniques this magic was made. Within room, palaces, churches and chapels, these artists worked a special kind of magic that created space where there was none, and beauty where little had existed before.
Gustave Caillebotte, however, was an Impressionist that did not rely on painting en plein-air. He turned towards the innovation that was photography, invented during the mid 1930’s, to guide him i...
If we go back beyond Lumière Brothers’ projection of their cinematography in Paris over Christmas 1895, which is too straightforward birth narration of cinema; ancient visual forms like Egyptian hieroglyphics or pre-cinematic technologies of image capture and projection, known as magic lanterns, employing a series of lenses and light sources, were early proof of humanity mesmerised by the play and tricks of light and shades.