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The History of Art Essay
The History of Art Essay
Art history essay 1
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In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art. In fact, some of the works presented depict mythological paintings that resemble the transcending Metaphysical matter of nature. Take for instance, the general aspect of the artworks presented in this chapter. They depict different social levels through the use of objects, emotions and various conditions. The lower status contradicts, the slaves to the wealthy and royalty, all delineate the role of the people present in the society and their everyday life. In the images, the poor and the slaves depicted with little to no possessions, looking tired and over-worked. Through their everyday labor, they must survive as a less fortunate person. In contrast to the images of the po... ... middle of paper ... ... the sense of sight has been incorporated into depicting the story behind what is denoted between the traditions, social orders and situations during the period the images were produced. Reference Berger, John. “Ways of seeing.” London: British Broadcasting Corporation. 1972. [1] John Berger, “Ways of Seeing,” London: British Broadcasting Corporation. 1972.90. [2] Berger “Ways of Seeing” 117. [3] Berger, “Ways of Seeing,” 124. [4] Berger “Ways of Seeing” 122. [5] Berger “Ways of Seeing” 118-119. Reference Berger, John. “Ways of seeing.” London: British Broadcasting Corporation. 1972. [1] John Berger, “Ways of Seeing,” London: British Broadcasting Corporation. 1972.90. [2] Berger “Ways of Seeing” 117. [3] Berger, “Ways of Seeing,” 124. [4] Berger “Ways of Seeing” 122. [5] Berger “Ways of Seeing” 118-119.
Petrie, Dennis and Boggs, Joseph. The Art of Watching Films. New York: McGraw Hill, 2012.
4. Jauss, Hans Robert. Toward an Aesthetic of Reception. Minneapolis: University of Minnesota Press, 1982.
According to the book entitled Ways of Seeing written by John Berger, the power of an image is extraordinary given that it can speak a thousand words. This has also been enhanced by the rapidly evolving technology that elicits more subconscious views about an image by anyone who sees them online or in real life. Some professional writers like Susan Bordo have emphasized that pictures of men often receive a wide range of negative tones or opinions due to the physiological effects that are fashionable to society or any other individual who approves or disapproves the beauty in a portrait of two men or women (Berger 38). This essay offers my opinion concerning the pictures of the Doloce and Gabbana, the gay Italian designers, as well as that of
From the ornamented caves of the prehistoric era to the surreal colors of impressionistic paintings, art has always been a medium for conveying human thoughts and emotions. By analyzing this artwork, much can be learned about human history, tendencies, psychology, culture, and the like. For instance, by comparing a sunken relief of Horus—considered to be the Egyptian god of the sky, sun, and war—with the Torso of Aphrodite, the Greek goddess of love, many hidden intricacies of Egyptian and Grecian civilization as well as the motives of the artists themselves can be revealed. Each piece of artwork was created in the same general time period (they are both ancient), composed of different materials, guided by social standards, and composed of a spiritual aura; within these similarities, however, lay a myriad of unique features.
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
Mr. Berger states in his essay, “The reciprocal nature of vision is more fundamental than that of a spoken dialogue. And often dialogue is an attempt to verbalize this- an attempt to explain how, either metaphorically or literally, “you see things” (120). This statement is a use of the rhetorical strategy, ethos, which is what Mr. Berger uses to gain influence and trust with the academic audience that he is intending to instill new knowledge in. This is a strong use of ethos that leads into how art is viewed so
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 ...
The word art is an encompassing one, vastly interpreted and with multiple definitions. In the case of Picasso's painting Guernica, art informs, educates and expresses. Its power lies in its ability to capture and compel an audience nearly six decades after the modern world's "other" day of infamy. To understand fully the painting that evolved out of the Spanish painter's outrage, one must know its context. "Why do you think I date everything I do? Because it is not sufficient to know an artist's works--it is also necessary to know when he did them, why, under what circumstances" (Picasso). An appreciator who knows the saga of Spain's historical fishing village is given a depth of experience that only a genius like Picasso could portray --"it may well be the most terrifying document on the horrors of war ever to be produced by an artist" (Wertenbaker 126).
19th century French painter Gustave Moreau was an artist highly regarded for his intricate use of images based on myth and legends to create very symbolic and often haunting paintings. Moreau was quoted saying: “I love my art so much that I shall only be happy when I can practice it for myself alone.” In a time when many artists choose to paint classical mythological subjects as if it were a proper education in Greek and Latin, Moreau was developing his own unusual and personal interpretations using a classical subject matter as his tool for artistic expression. This is very much the case in his painting of Jupiter and Semele (1894-5) in which Moreau explores classical myth in a very personal and unorthodox way to express his interest in mythology and religion as a true Visionary artist. Moreau employs a variety of methods to create his works, one way Moreau makes the work more personal is by taking the molds of mythological stories and turn them into a mystical world with poetic melancholy with his own personal style using color and size to create emotion. In these detailed pieces Moreau combines lush vegetation with jewel-like colors make the fantasy world seem so real. Finally, as a French Symbolist painter, Moreau used various iconography meant to be mysterious and ambiguous in their meanings, often using icons from Symbolist writings and ancient myths.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
D. W. Hamlyn - author. Publisher: Routledge & Kegan Paul. Place of Publication: Sensation and Perception: A History of the Philosophy of Perception. Contributors: London. Publication Year: 1961. Page Number: iii.
Le Realisme puise ses themes dans l'observaton du monde contempotaine,social et historiqoe:il s'interesse aux chosses,aux gens et aux situations,qui n'etaient pas jusque-la consideres comme artistique.
During the ancient times in Greece, Plato was the first human to document and criticize the existence of art and artists. He mentioned that human art was always in a form of a representation of something else. In one of Plato’s famous works, he demonstrates the idea of art is like an “imitation of nature” (Blocker 3). In other words, the purpose of art was to represent nature and nothing else. Art was not created for the sake of its own self nor was it created to appreciate its own beauty by any means. Instead, art, usually in forms of writings, paintings, or sculptures, was created to only to represent nature, Gods, emperors, families, or other important individuals. Furthermore, Plato had a very critical view towards the existence art in our society because art makes us more emotional, and our emotions lead to many errors about life. He believed it is our rational thinking, not our emotions or senses, which helps us und...
In his book Art and Illusion: A Study in the Psychology of Pictorial Representation”, Gombrich examines the history and psychology of pictorial representation, drawing on various other historians and thinkers, such as Karl popper. He seeks for a rational explanation regarding the changing styles of art. He mainly refutes the notion of art as imitation, and rather sees art as representation of reality. He uses the example of impressionist and post-impressionist painters and applies Popper’s methodology to the development of this particular
Many artists started experimenting with new styles of art throughout the Baroque Ages to the present time. These paintings and sculptures were famous for the detailed work and the beauty of art. To define male beauty, these arts have simplified the creativity in masculinity. For centuries, the art of male beauty has been constantly changing and the portrayal of men has become more feminine in many artworks. These changes in these artworks were caused by the increase of time that has passed and the occurrences that had influenced people to associate these experiences through their masterpieces. It is known that mainly known that artists like to express their emotions and show their imaginations that can easily show the meanings in a visual display. By having a representation of each masterpiece, the work to provide the visual views of male beauty can mostly be found through paintings and sculptures that revolves during each era.