In photography it is common for images to have similar qualities and at the same time, have qualities that oppose each other. In order to show that two photographs can be similar yet very different, the two images I chose were Chariots of Fire by Adam Bartos and The Open Door by William Henry Fox Talbot. These two images are not only similar and different in regards to their formal elements and composition but the artists who created them are focused on the same goals of their photography. These two photographers grew up differently had had two different interests. I felt that these two images were the best images to compare and contrast. Without learning formal elements such as light, color, depth and balance, these two images would look …show more content…
very similar to an untrained eye. Learning about the artist and their focuses will also help with determining the differences and similarities in these two photographs. William Henry Fox Talbot was born in Delsort, England in the year 1800. His family had many connections that allowed him to gain access to meet people of science and political groups (bio.com). With meeting these people he was able to get higher knowledge and connections in his areas of study. Talbot first focused on the studies of Botany. Talbots mother was his tutor and was very interested in gardening and botany. This is what drove him to continue his studies in Botany. Talbot then changed his primary focus of studies on the sciences of light and optical phenomena (bio.com). This is where Talbot was able to study how different chemicals and elements reacted to the exposure of light. This knowledge is what helped Talbot gain an advantage in creating what is called the Calotype. Talbot was not a very good artist, but more talented at mathematics and science. Talbot tried both the camera obscura and the camera lucida, but did not have much luck with either. He stated, “When the eye was removed from the prism – in which all had looked beautiful – I found that the faithless pencil had only left traces on the paper melancholy to behold" (bio.com). This was upsetting for Talbot and he wondered if it were possible to capture a scene without having to trace it by hand. With this in mind, Talbot created the Calotype. Talbot’s studies of light and optical phenomena were a great advantage to his creation of the calotype. Talbot went through many different stages to create the calotype but eventually came across a technique that worked to capture an image on a piece of paper. The first step to creating a calotype is to wash a piece of writing paper in salt and silver nitrate. The paper that is washed in the salt and silver nitrate is then covered in a light sensitive silver chloride. After placing an opaque object over the paper, the areas that are not shielded from the sun will turn black (bio.com). Talbot’s invention allowed him to create negatives of images, which made it possible to make multiple prints. Adam Bartos is a New York native photographer who has been photographing since he was a teenager. Bartos is known for his quiet and calm photographs of ordinary scenes (Getty Museum). Bartos’s images often give a melancholy feel to the viewers (Artspace). Bartos has traveled all over to capture images of ordinary but symbolic scenes. Bartos likes to focus on scenes and images of things that are forgotten in time. He focuses on this because it shows the beauty of things even as they age. He has published many different series of photographic books while studying and practicing photography (Getty Museum). Bartos claims that he is attracted to objects with an “aura of the relic” (Artspace). Bartos was always attracted to taking pictures in New York, Los Angeles and Paris (Artspace). Because Bartos was exposed to photography at a young age, this gave him an advantage when taking pictures and getting the best vantage point. Bartos also attended New York University and was mentored by Evelyn Hofer. Hofer was known for using strong colors and images of calm scenes (Artspace). This is where Bartos began working in color and having the same focus as Evelyn Hofer. Talbots image, The Open Door, uses his own method of photography, the calotype. The image was taken before May of 1844 and was used in his publication, “The Pencil of Nature” (The Met Museum). The image was inspired by the genre of Dutch painting in which Talbot set out to recreate this genre in a British photographic version. With artists focusing on the historic buildings of this time, and trying to recreate an image of them, this was different for Talbot. Talbot wanted to focus on the same content as the Dutch School of Art. Talbot stated, "We have sufficient authority in the Dutch school of art, for taking as subjects of representation scenes of daily and familiar occurrence. A painter's eye will often be arrested where ordinary people see nothing remarkable" (The Met Museum). While following the teachings and philosophy of the Dutch School of Art, Talbot wanted to do just that. Talbot wanted to stop focusing on popular content of historic images and instead focus on every day scenes that people would never give a second look at. Talbots choice of the open door scene helped him show his idea of Dutch school of Art. The scene shows an open door with a broom slanted inward. On each side of the door are vines from trees and other bushes, with a lantern hanging next to the open door. To the ordinary eye, this just looks like an open door with everyday objects surrounding it. This image is actually the opposite of just a simple snap portrait of nothing. Talbot uses techniques of light, contrast and texture. Adam Bartos’ image, Chariots of Fire, is a pigment print that is displayed at the Parrish Art Museum. The image was taken in New York in 2011 (Artsy.net). Chariots of Fire was donated to the Parrish Art Museum to be displayed. The image is of a door with different tools and wires surrounding the door. The image is colorful and shows that his background does have influence on this image. Eastern Long Island is known for its open land and farming. The image does a great job of showing an Eastern Long Island barn. With all of the objects surrounding the old wooden door, it shows that he focused on something that looks forgotten and not on typical scenes that people would focus on in this area. Typically, people focus on water scenes when photographing Long Island. Bartos showed that he did not have the same area of focus as other artists. The Open Door and Chariots of Fire are two very similar images in composition.
Both of these images focus on the every day scene. These images are very oriented on capturing a forgotten scene in order to show the beauty and simplicity of things often forgotten. Bartos and Talbot both chose to photograph a simple image of a door and everyday objects beside the door. The objects add to the concept of forgotten scenes. In Talbots image the overgrown vines and dirty looking area makes the scene look forgotten and un-kept. This depiction of forgotten scenes is also seen in Bartos’ image. In Chariots of Fire, he shows rusted wires, a rusted fire extinguisher, overgrown plants and a dirty door and wall. Talbot and Bartos also make use of vertical lines. In Talbots image he uses vertical lines in the wood planks in the door and side of the building. You can also see vertical lines used in the vines and branches next to the door. Looking at Bartos’ image, we see the use of vertical lines in the wooden planks on the door along with objects such as a plank leaning on the wall, wires hanging next to the door, and other tools surrounding the door. Bartos and Talbot both did a very great job of using vertical lines and using an everyday scene that person would never look twice at. These areas are really where Chariots of Fire and The Open Door have similar features. Even though these images have similar composition, they do have very different formal elements that set them apart from …show more content…
each other. The most noticeable formal element that the viewer sees is color.
Chariots of Fire uses color and The Open Door uses black and white. Both of these elements have their advantages. With Bartos’ image the use of color allows us to see every imperfection in all of the objects. In Chariots of Fire, we see the fire extinguisher is rusted over, the paint on the building is faded and the door is covered in dirt. These little details in the image would not have shown if it were in black and white. With The Open Door, Talbot was able to show contrasts in light and dark. These contrasts in light and dark allowed him to create an image with depth. With the image showing more shade and darkness in the background it allowed the viewer to see the image pop out. There is no depth in Bartos’ photograph, color and the vantage point created a flatter image. Balance is also another element that played a difference between these images. In Chariots of Fire, Bartos had an unsymmetrical photograph. With most of the weight on the right side, the viewer will have most of their focus on the right hand side. The Open Door was a much more balanced image. Talbots image had equal balance on both sides of the image. With a more symmetrical image viewers will focus their eyes more on the center of the image. Although we saw that both Bartos and Talbot used vertical lines, Bartos also used horizontal lines to help make the viewer focus on a specific part of the picture. The horizontal lines in Bartos’
image really makes the vertical lines more noticeable and it makes the viewer look more towards the right hand side of the image. Chariots of Fire and The Open Door both have their similarities, but if a viewer can see the differences you can see that these two images are very different. The difference between formal elements overpowers the similarities in composition. Bartos’s use of color has its advantages in showing aging materials but Talbots image has its advantages of showing depth. Both of these artists had different backgrounds and different interests, but their focus in art was very similar. This is why using these two images is a great way to show contrasting images and where they are similar. Bibliography "Adam Bartos | Artspace." Artspace. N.p., n.d. Web. 27 Apr. 2016. "Adam Bartos (American, Born 1953) (Getty Museum)." The J. Paul Getty in Los Angeles. N.p., n.d. Web. 27 Apr. 2016. Person, Adam Bartos, and Https://www.artsy.net/artist/adam-bartos. "Adam Bartos | Chariots of Fire (1), Water Mill, N.Y. (2011) | Artsy." Adam Bartos | Chariots of Fire (1), Water Mill, N.Y. (2011) | Artsy. N.p., n.d. Web. 27 Apr. 2016. "The Open Door | 2005.100.498 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. N.p., n.d. Web. 27 Apr. 2016. "William Henry Fox Talbot." Bio.com. A&E Networks Television, n.d. Web. 27 Apr. 2016.
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
In this image, a sewage worker is seen cleaning the drainage system, with his bear hands, without the use of either any equipment’s or protection. On the first glace, the image depicts the idea of health risk, because the man is exposed to such contaminants, which for him is work. He is looking up from a dirty drain, covered in filth, which shows that he is clearly used as the subject of this image, whom we are engaged to more as he is making eye contact with its viewers. This picture only includes one person into the frame, as the other man’s face isn’t available to see in this picture, which is man that is holding the bucket. Holding a bucket either emphasise the idea that he is helping the sewage worker, either to get the dirt out or to put the dirt in the drainage system.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
One of the literary techniques most prominently featured throughout the passage would be that of imagery. The author takes great care to interweave sentences comparing the traits
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
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
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
While these two pieces have many similarities and differences, they have a common purpose, to allow a viewer to experience a bit of nature. The two artists used their own unique styles to depict a similar scene that resulted in two different paintings that each allow a viewer to experience this bit of nature in whatever way they interpret it. This is sort of the whole point of art, and it seems that both of these pieces captured that point very well.
Now that there is an understanding of the paintings and their history we will compare and contrast the elements of design of each painting. The first element of design that will be looked at is line. Line has two characteristics, one is direction and the other is linear quality. Direction of line is “related to our experience of gravity” (Notes). These lines can be either horizontal or vertical. Horizontal lines are calm and balanced lines as seen in “The Death of Socrates”. Vertical lines “defy gravity” (Notes) and contain dynamic lines. Dynamic lines are diagonal lines that give art work a sense of movement, implied action. They use of vertical lines is best seen in “The Death of Sardanapalus” because of the dynamic use of lines in the painting
A huge element to the mural is Leonardo’s use of color. Jesus persona is illuminated and given much more light than the others, but light and dark are not the extend of what makes this painting unforgettable. Most of the disciples as well as Jesus are wearing blue emphasizing a sense of unity. Jesus is the only one wearing bright shade of reddish/orange but many think it may have been the foreshadowing for the tragic events. The table they are eating on is also draped with white cloth, a symbolic color to show purity and emotional cleanliness of Christ. Leonardo employs a fully frontal One-point perspective system. This system focuses our attention on Christ, since the perspective lines almost as rays of light radiating from Christ head. Representing the effects of color and light in creating believable space. The clarity and contrast between light and dark emphasize the foreground elements. The small details of the mountains in the far background, the doorway, and the clouds in the sky commendably difficult to paint. The object farther away appear less distinct and often bluer in color. Varieties of lines including wide, vertical, horizontal, thick, curved indicating the edge of a two-dimensional flat shape and three-dimensional form of the rectangular table, flat surface wall, and the dining room ceiling. Lines are frequently used to outline shapes, forms and space. The volume, movement, and patterns can all be created using line in both 2D and 3D such as objects on the table, doorway, rectangular table, and the simple artistic effect of the dining room
Mafia baby is an image with a scowling baby dressed in a tuxedo with a bow-tie pointing to the ground. The captions typically portray the baby as an infant version of The Godfather. The image was originally posted on Reddit in 2011. The baby also has been Photoshop in the classic godfather scenes. It became popular in 2012 and rose up to fame due to the movie Godfather and other old time mafia culture. It plays off that ole school gangster vibe. A tuff or thug but dressed in a nice tux giving it that ole time feel, back when everyone dressed formal all the time. That the image also shows the baby with little to no hair, that adds to the classic look of a mafia icon. They also take famous quotes from the godfather and use it in the terms of a baby. Like “grab my nemo blanket…because tonight he is sleeping with the fishies”. Or “humpty was the rat….make it look like an accident”. These are spoofs or parodies of quotes off the movie Godfather. I feel that my creation of the fits in with the family of memes that surround this image.
1. Select one of the following pair of artworks and describe the differences you observe between them. Each pair consists of art of the Early Renaissance (Chapter 21) and that of the High and Late Renaissance (Chapter 22). Examine the composition, technique, position of the figures, and facial expressions, as well as any relevant elements of art and principals of design (see handout from September or Google “art elements and design principals”).