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Analysis of portrait art
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Based on the oil paintings of Muntean and Rosenblum, there is a sense that the portraits desire a second look and to be understood by on lookers, because the paintings themselves convey messages of desperation through form and color. It is almost as if each picture tells its own story and has its own caption that must be determined and interpreted by those whom observe it. In fact, the story to be told is completely reliant on those who view the painting and possess personal experiences that can be connected to the piece. The reasons behind these interpretations relate mostly to color, value, shape and use of lines in the works of Muntean and Rosenblum.
Form plays a predominant role in these paintings, especially as far as value and shape are concerned. For example, the eyes of the subject in the “What surrounds us we endure…” painting are piercing and ice-cold, conveying desperation and a need to be heard. The eyes look piercing and distressed due to their light blue color which contrasts with the darks shadows enclosing them. Through their body language and facial expressions, the three men in the picture express anxiety, stress and depression which are perhaps due to the rain-streaked night sky, the lonely sidewalk and bus stop and the use of dark, cool hues which surround them. Also, the value of the man in the foreground is very intense because he is lighter than the background and creates an eerie sensation. It is also a focal point in the piece because of the drastic contrast between light and dark fashioned by the strong use of shadow. The remaining two men that occupy the background of the picture seem to be completely exposed to light, almost representing a sense of being scrutinized, but not understood due to the cry ...
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...ir captions. “What surrounds us we endure better for giving it a name – and moving on” could be observed as a cry for help from the subject of the piece (Muntean and Rosenblum). This could also be said for the other work, which is captioned “they had never been able to understand the laws of a universe which was so ready to leave them out of its calculations” (Muntean and Rosenblum). However, this work also conveys downfall and defeat, again referring to the positions of the men. Interpretations are completely dependent on spectators, but without such forms as these, connections would be difficult to create between a bystander and a work of art.
Works Cited
Muntean and Rosenblum; Untitled (They had never been able…); Oil on canvas; 2010. Web. 21 Sept. 2011.
Muntean and Rosenblum; Untitled (What surrounds us we endure…); Oil on canvas; 2010. Web. 21 Sept. 2011.
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.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
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Her use of primary colors and complementary colors are illustrated in the background, at the top of the fabric and in the outer view of the house and in the front yard. There is shading being shown in the two geometric windows. The entire work presents lines and implied lines as a focal point or as a means to describe a scenery. The texture of the garment is silky and very smooth like bed sheets. Post and lintel are crafted on the rectangular door frame and in the small window inside the door frame. Fine art is depicting in the background of the house; the painting is going in its own direction but still have a meaning behind it. The grass, tulips, and the weeds in the foreground appear naturalistic and lifelike which give the painting a multiple use of variety. The composition of the house is centered and upright. Marisela Esteves uses asymmetrical balance in the pathway and on the walkway to the flower garden. On the left side of the house there is a lot of variety elements and implied lines been demonstrating. Also, there is a lot of space in the background which grabs my attention because the line portrays a billboard in my mind that is covered by the vibrant, bright colors. The material that Marisela Esteves use was probably a knife or paint brush to mix, dye, and print on the fabric
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
The structure of the painting fits the example given on page 58 of open composition “in which the eye can wander off the canvas or escape the frame, as disunified.” perfectly. The line structure deals with curved lines only, the focus being the center of the water. If focus is shifted from the water to the surrounding area, it is not without effort. The subject of th...
Sayre, H. M. (2010). A World of Art: Sixth Edition. In H. M. Sayre, A World of Art: Sixth Edition (pp. 511, 134, 29, 135, 152, 313-314, 132). Lake St., Upper Saddle River, NJ: Pearson Education, Inc.,.
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...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.
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Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.