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Renaissance influence on art
Art as communication of emotions
Renaissance influence on art
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“FOR REAL” The Physical Concept
‘The physical’ is a concept of reality in which many artists aspire to express in their artwork. This may usually acquire the characteristics of verisimilitude and the traditions of artistic concepts, it can additionally be related to plenty of todays’ modern art pieces. Alberto Giacometti, a Swiss sculptor, painter, draftsman and printmaker once said “The object of art is not to reproduce reality, but to create a reality of the same intensity.” This was the way Giacometti portrayed his art work, revolving his pieces around the physical of reality and altered reality in their own ways. “For Real” is a new exhibition making its way to ‘The Home of The Arts Coliseum’ in central New York! This Exhibition will dive
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These artist have shown the true meaning of realism and it is due to this that we are grateful and privileged to announce that the famous works of Michelangelo (Rebellious Slave), Margaret Preston (her floral series) and Auguste Rodin (‘The Kiss’) will be featured at this event. Each piece have a unique undertone to them giving each individual emotions and meanings to every different person who views them. The physical can be shown by the objects or peoples positions in the artworks and the realism behind the movements of such. Colours, tone, lines are just a taste of the many details to examine in the works of art that make up the depth of the piece giving more then what first meets the eye and giving a realistic view that things run deeper then they appear. The concept of the physical can be found in most pieces as long as they consist of realistic things and movement and can be something in which you can touch and hold in your hand. All these reasons and more were the criteria used in order to find the most inspiring and best representatives for this concept to display in debatably the most progressive and innovative exhibition of New York
Surprisingly, fifty years later, artist John Sloan happen to meet all the qualifications Baudelaire has designed for Monsieur G— making urban life observations and drawing from memory. Sloan adopts and employs Baudelaire’s idea of urban watching and further expands it for an American audience. Born and raised in Philadelphia, John Sloan first begun his art career as a newspaper illustrator. After years of working, he developed his own artistic style and started making paintings and etchings. When he moved from Philadelphia to New York, he has found that city life scenes of great interest that he then started observing and making etchings for scenes of modern life. He was well-known and celebrated as the founder of the Ashcan School and was most celebrated for this urban genre scenes. (Lobel, Chapter1)
“Introduction to Modern Art.” metmuseum.org. The Metropolitan Museum of Art. 18 June 2009. Web. 25 Sep. 2009.
Examining the formal qualities of Homer Watson’s painting Horse and Rider In A Landscape was quite interesting. I chose to analyze this piece as apposed to the others because it was the piece I liked the least, therefore making me analyze it more closely and discover other aspects of the work, besides aesthetics.
The first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
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.
Using the idea of our common associations to their advantage, some artists evoke an illusion of complexity by providing elements of realistic perception within a space that conventionally is recognized as fiction ‘the studio’, or on the contrast, by bringing features of the fictitious into a space that is acknowledged as the everyday and usual. These are both themes, which Francesca Woodman’s “Providence, Rhode Island” 1976 and Keith Arnatt’s “Portrait of the Artist as a Shadow of his Former Self” 1969-72- are suggestive of. Therefore, I argue that these works exist within the fictional dialogue, and can be understood within backgrounds of surrealist theory.
Rhys Southan’s essay “Is Art a Waste of Time?” is about art and if it can really help people who are suffering or is it just better to hand over your money. In Yo-Yo Ma’s essay “necessary Edges: Arts, Empathy, and Education” he focuses more on art being used as educational purposes to essentially create more innovative/empathetic people. Instead of focusing so much on STEM, the author states that we should incorporate art too. Although some people might say art does not play a role in making the world a better place. I believe it can by bringing awareness to different social issues. Also, if we incorporate art at a young age it can teach kids to be open minded and happier people.
Whether it be writers, painters, sculptors, musicians, or photographers, artists all over the world have striven to show people their views of the world, of people, and even of the universe itself. Throughout history the creative urge of man to present to fellow men a different perspective or representation of life-or even the afterlife-has surfaced time and time again in the form of artwork. Sometimes it comes through genius and complexity, full of meaning and symbolism. Others, it is simple and void of any clear meaning at all other than that it is art. Soon, however, there became a point when the work of art was no longer something one could just look at and understand; the principle of the matter had changed. Art leapt from viewable understanding straight into the Modern movement where theory became art, and to understand it, one must know the theory it is based upon. Never was this more apparent than in the artwork of the abstract expressionist. Essentially, artwork is not art because of theory, and art based on theory cannot be creative or truly said to be art.
Akin to the photograph, which was developed a few years before the age of Realism, the realist artist depicted its subjects devoid of any unnecessary dramatics or artistic affection by attempting absolute accuracy. Refraining from undue embellishment and aiming for a natural tone, the works during the age of Realism where much like the camera; catching every detail and portraying a very realistic experience. Brushstrokes were very subtle, almost invisible to the naked eye. The focus was on the subject rather than the medium used.
Since Thierry’s reason for creating street art was not about rebelling like Fairey’s, but about gaining agency, he helps change the meaning of street art. In this way, street art becomes less about rebelling from society, and more about using it to achieve fame and money. The idea of a changed meaning is brought up in Jean Baudrillard’s essay Simulacra And Simulations. Baudrillard talks about the hyperreal, which is “sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the obitital recurrence of models and simulated generation of difference” (2). In other words, the original meaning of certain things is covered up over time through reproduction.
Unfortunately, not all of us are able to visit the world’s most amazing museums which showcase all of our favorite artist. Luckily, museums now have the ability to showcase their current masterpieces in stock online. In this essay, we will describe, analyze, and interpret three of my favorite masterpieces currently being showcased in three different museums.
Studying other artist can help you learn different techniques in painting, finding lights and darks, and mixing colors. Each artist has its only style they draw or paint in. An example being some artist tend to make their paintings have lots of texture and brushstrokes, while others make every detail shown and with precise and crisp lines. Studying artist also helps you decide how you would like to draw or paint your project. For example, you may look at several paintings and may enjoy the look of lots of brushstrokes and mixed colors and add it into your painting. Famous art is in a way a trial run for your own art.
In Music and Art As intellectual and artistic movements 19th-Century Realism and Naturalism are both responses to Romanticism but are not really comparable to it in scope or influence. For one thing, "realism" is not a term strictly applicable to music. There are verismo (realistic) operas like Umberto Giordano's Andrea Chénier created in the last decade of the 19th century in Italy, but it is their plots rather than their music which can be said to participate in the movement toward realism. Since "pure" untexted music is not usually representational (with the controversial exception of "program" music), it cannot be said to be more or less realistic. In contrast, art may be said to have had many realistic aspects before this time. The still lifes and domestic art of Jean-Baptiste-Siméon Chardin1 (1699-1779) anticipate many of the concerns of the 19th-Century Realists, and he in turn owes a debt to the Netherland school of still-life painting of the century before him, and one can find similar detailed renderings of everyday objects even on the walls of 1st-century Pompeii. Realism is a recurrent theme in art which becomes a coherent movement only after 1850; and even then it struggles against the overwhelming popularity of Romanticism. In mid-19th century France, Gustave Courbet2 set forth a program of realistic painting as a self-conscious alternative to the dominant Romantic style, building on earlier work by the painters of the Barbizon School (of which the most famous member was Jean-François Millet), which had attempted to reproduce landscapes and village life as directly and accurately as possible.
Art can be defined in many ways by an individual. One can say that any creative output by a person is considered art. Others contend that art must conform to a societal standard and the basis of the creation should be understood by most intellectual people. For example, some contend that computer-generated images, such as fractals, are not art due to the large role played by a computer. E.O. Wilson states “the exclusive role of the arts is to intensify aesthetic and emotional response. Works of art communicate feeling directly from mind to mind, with no intent to explain why the impact occurs” (218). A simple definition may be that art is the physical expression of the ideals formed by the mind.