It is the intent of this essay to provide reasonable proof, on the basis of the Morellian method, that images 1A and 1B are by the same artist. These images of painted ceramics originate in the cultures of the archaeological Southwest circa 950 – 1150 (Fry, 2011). Painting each ceramic, the artisan(s) used similar techniques such as checkerboard patterning, broad lines, hatching, utilization of positive and negative space, and, along with anatomical representations. While the overall images differ considerably, the goal of implementing the Morellian method is to identify artists’ use of the same formulas to create smaller parts of works.
During the production of Image 1A (1A), the artist used a (six square by three square) checkerboard pattern to separate sections of lines of approximately the same width which rimmed the outer edge of the ceramic. These boarder-lines alternate occupying negative and positive space. A repeated use of thin hatching lines - which are relatively short exteriorly and interiorly long – is present. This use of positive and negative space alternation occurs in both depictions of animals [i.e. fish, largest (bird’s) figure’s body and feet]. The artist also utilizes the painted space by leaving a negative pattern of zigzagging lines within which is painted a reflective outline. Within the outline occurs a series of rhombus shapes. Finally, eyes are produced by leaving a negative circle or oval and centering a single painted dot within.
In Image 1B (1B), this artist employed a (six square by six square) checkerboard pattern adjacent to the interior-most line. Two lines, which inwardly alternate from negative to positive usage of space, are present at the rim of the ceramic. Each of these lines is of app...
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...ater size uniformity is observed in the zigzags of 1A than in those of 1B. Still, each ceramic’s interior zigzag pattern is bracketed by a painted rectangular image, which shares an intersection with the outermost angle of the final rhombus. While these designs differ in overall presentation, the commonality is readily observed.
In conclusion, the author’s belief is that there is sufficient evidence to conclude that a common artist produced the paintings of 1A and 1B. There are certainly characteristic differences between these images; however, through application of the Morellian method one may deduce that the overarching techniques are vastly similar. Though this is a subjective method and the author is not experienced in using it, it seems plausible that these works were produced by a common artisan; but, perhaps along a continuum and not around the same time.
If someone who had no prior knowledge about art, or the elements and principles of design, were given five seconds to look at these two paintings, they’d probably say they had almost nothing in common, other than the fact that they both feature mountains, and it’d be true for those people. But, if you are someone that does know a lot of information
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
Maria Martinez?s pottery remains of major collecting interest in the art world due to its supreme sophistication. It dispels the myth that primitive people were incapable of sophistication which may stand the test of time, glow with a maturity and fluidity of design, and reflects the earth philosophy which paraphrases that we as humans are also basically clay vessels capable of great beauty (West).
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.
Examining the formal qualities of Thomas Birch’s painting An American Ship in Distress was very interesting. This paper will analyze and illustrate what I saw in this particular piece of artwork. The paper will also discuss the art elements such as line, shape, color, texture, scale, and composition of the artwork.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
For the Formal Analysis Essay, the following artist and work of art to discuss is: Artemisia Gentileschi (Italian 1593-1653), Judith and Maidservant with the Head of the Holofernes, c. 1625, oil on canvas, approx. height: 72 1/2 x 55 3/4 inches. Detroit Institute of Arts. The following will mention the subject of the artwork, elements of design including: line, shape, and color. In addition, the principles of design will be discussed in termed of movement, emphasis, and balance.
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own artistic identities.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
This paper will employ a close visual analysis of the White-Ground Lekythos, which is attributed to the Reed Painter circa 450-400 B.C.E. on ceramic with paint.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
...des us with a glimpse into the ancient culture using beautiful and detailed designs. The art form has been sustained in fired clay for thousands of years indiscriminately telling its story to the world and to history.
Schattschneider, Doris. “The Fascination of Tiling.” The Visual Mind: Art and Mathematics. Ed. Michele Emmer. Cambridge: MIT Press. 157-164.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.