Figure 1 is a painting done by Jackson Pollock, who was an abstract expressionist. His painting had “ thinned paint that was applied to unprimed, unstretched canvas that lay flat on the floor rather than propped on an easel ” (The Metropolitan Museum of Art 2007). These materials were used to help to portray the heavy, graceful and arching aspects of his painting. “Every material has its own individual qualities. It is only when the sculpture works direct, when there is an active relationship with his material that the material can take its part in the shaping of an idea.
Title: Daedalus and Icarus Artist: Anthony Van Dyck Description When you take everything into detail, you will notice that the artist, Anthony Van Dyck, painted Icarus (left) very pale. While Daedalus, Icarus’ father, was painted with a darker complexion.The background resembles the color gray, whereas in the story Daedalus and Icarus are surrounded by brick walls, with a lone window that will soon become their escape route. I took into account that Anthony Van Dyck dressed Daedalus in a toga, whereas Icarus is trying to cover himself with what seems to be a blanket that resembles the color of his father’s toga. The wings seem to be more life-like then described in the story. In the story it states that Daedalus made the wings from wax and feathers, and that is what led to the death of Icarus.
Comics In his essay, “Setting the Record Straight,” Scott McCloud focuses on not the negative connotations of comics but on the limitless of comics. He argues that modern art should not continue to be perceived as bad. In the essay, he shows how people can start to think about the relationship between illustrations and words through his comic story. According to McCloud, “The definition of comics as “crude, poorly-drawn, semiliterate, cheap, disposable kiddie fare” (348). Mc Cloud means comics are not represented as a great art form as opposed to any art that is surreal.
RIWT Task One By Katie Ziegler Impressionism and Post-Impressionism Impressionism developed in the mid to late 19th century in France, and lasted until the early 20th century (Pioch, 2006). Impressionists such as Claude Monet, Edouard Manet, Mary Cassatt, and Pierre Auguste Renoir wanted to focus more on painting the “fleeting effects of nature” through quickly painted works ("Movements > impressionism," ). Instead of being inspired by historical times, Impressionists painted contemporary landscapes and scenes of modern life ("Impressionism & post-impressionism,"). They “rejected the system of state-controlled academics and salons in favor of independent exhibitions” ("Impressionism & post-impressionism,").
Throughout the 20th Century, artists began to abstract, and some eventually eradicated human anatomy and recognizable characteristics from their experiments. Gabo, in particular, studied and theorized the unity of all visible forms, and of the existence of aesthetic ones in accordance with physical and mathematical laws. In order to effectively understand the evolution of movement and time within modernist sculpture, we must first examine the integral developments which paved the way for its progression. Conceptually, movement, whether as an aesthetic principle, or as a physical action, must relate to an object, to a mass, to a substance that embodies an internal sense of movement, or that which moves through space. Motion, time and space were
EXPRESSIONISM In the artistic style known as expressionism, the artist doesn’t try to reproduce objective reality. Instead, the aim is to depict the subjective emotions that a person feels in response to objects and events. The style is characterized by the use of distortion, exaggeration, and fantasy to create vivid or jarring effects. As a movement, the term 'Expressionism' usually denotes the late-19th century, early-20th century schools of emotive or interpretive art, which emerged mainly in Germany and Paris as a reaction to the more passive style of Impressionism. In the sense that it was a reaction to Impressionism, we may describe expressionism as an example of "post-Impressionism".
Instead of attempting to hide these limitations modernist artists glorified them and made these limits one of the focal points of their work. In doing this the artist does not undermine the medium but expands on it instead, encouraging reinvention and subsequently ‘purifying’ (Greenberg, 1960) it rather than presenting yet another idealized version of reality that disregards it. The specific way in which a piece or work addresses its own unique medium that separates one art form from another - or a work’s ‘medium specificity’ - may be examined in modernist painting where the medium of expression is clear, but problems arise when this consideration is applied to literature. This paper will primarily discuss the way in which two great modernist artists, Pablo Picasso and Ezra Pound, approached their respective media through experimentation will also attempt the question of how medium specificity can be explored in fields other than the visual arts. By nature the medium of painting involves the placement of paint on a flat surface.
It was initiated by a group of artists (Claude Manet, Camille Pissarro, Auguste Renoir, Mary Cassatt, Edgar Degas, Paul Cezanne, Alfred Sisley and Edouard Manet) who were tired of following the traditional style of art and so decided to rid themselves of these ‘outdated’ shackles and began to paint unconventional subjects and outdoor landscapes. Through the industrial revolution, artificial tinctures which allowed the creation of newer and brighter colours. The artists’ paintings were their impressions and dealt with contemporary life unlike that of traditionalists which stuck to ancient mythology and romanticism. Impressionists saw their art not as moralistic but rather an attempt to capture light and fleeting effects through a new technique of small dabs of similar and brilliant colour created a mimic of sunlight, running water or moving vegetation, shadows were given life and colour. This new look on light and colour and how it affected the image of
Images never merely portray an authentic reality but instead they “inevitably betray the values of the culture in which they were created” (Howells, 2003: 70) Fig1.1: Self Portrait with Necklace of Thorns, 1940, Oil on Canvas Fig. 1.2 Henry Ford Hospital (The Flying Bed), 1932, Oil on Metal This paper will begin with a brief introduction of visual studies, painting in particular and go on to establish the fact that visual images not merely imitate reality but also inform the real world. When one views a painting, it is not complete objective view. There is a very thin line between objectivity and mind working under influence of ideologies. Complex interworking of representation of perceived reality by the painter, ideological approach of the viewer is at play, both, striving to figure out the real.
It took various styles from oriental, rococo and Celtic art. Typical motifs come from nature: flowers, insects and birds. Lines curve and wind, straight lines were scorned by Art Nouveau designers. It was essentially a rebellion against Victorian design as it was a conscious attempt at modernism and a departure from traditional Victorian forms of design, most of which looked back to the past for inspiration. It became the first commercial art that beautified industry products.