Essay Topic #1 Identify define or describe, and finally compare and contrast two of the Expressionists groups of the early 20th century. Refer to specific artists and works to illustrate your points. “Expressionism is a tendency of an artist to distort reality for an emotional effect; its subjective art form.” (1) Expressionism was seen in many different kinds of forms which included literature, theater art, paintings, music and architecture. Expressionism developed in the late 19th centuries and in the early 20th centuries and they were academic standards which were overcome in Europe since the Renaissance which were between 1300 and 1600. (2) An artist tries to see the most compelling form in the piece of art.
The art of the twentieth century is art of newness and exploration. The art of these times is a historical commentary on the world’s shift from the traditional to the modern, from the classical to the contemporary. Specifically, the art of the mid-twentieth century was about exploring new ways in which to utilize paints and mediums, it was about pushing the boundaries of our perceptions of what art was and is, and forever will be. New concepts of composition arose, abandoning the usual ideas of depth and space as seen in nature, artists in these influential years began experimenting with a more two dimensional approach, creating depth not through scale and shading, but rather through colors and shapes. However, these artist’s works were far from flat as they challenged the traditionalist’s creation of three dimensions through representation by instead evoking both depth and mood through non-representation.
Explain how and where these three artists’ artwork sits within the frames Mandy Martin, Lin Onus and Clifford Possum Tjapaltjarri Mandy Martin, Lin Onus and Clifford Possum Tjapaltjarri use different types of frames to convey messages from their artworks. The frames used on their artworks are critical study-subjective, cultural, structural and postmodern. An artwork can consist of more than one frame. The frames are used to make, or look at an artwork, from different points of view. The subjective frame, where the personal, emotive qualities are examined, or how the artist has used the elements and principles to convey feelings, personal responses or imaginings to the audience.
Compare and balance them with what you have learned about the artist and their respective periods in art.? I feel when you look at the art you can see the difference of the two. One is like a blur as if you didn’t have glasses on when you need to have them to see. The impressionism is more like the real look but with a shadow to it. I feel that artist really feel like they are in their own world and as if they are seeing that person or thing and then draw them.
If there is one word that can describe Raffel’s translation of Beowulf compared to Heaney’s, the word is simplified. Many literary techniques, including syntax, diction, and figurative language, are either absent or expedited in Raffel’s translation. Therefore, his version would be a much easier read for his audience in terms of understanding the plot and the language. The first difference seen once Heaney’s and Raffel’s translations are juxtaposed is the use of capital letters. Unlike Heaney’s translation, Raffel’s translation uses a capital letter at the beginning of every line.
In order for this style to be clarified artists used short brush strokes, dotting and smearing techniques. This was achieved in the paintings I’ve chosen, making them each historically significant. The post-impressionism transitions these styles by adding more emotion to the naturalism. It’s a movement in broad terms that covers many artists and styles. The post-impressionist paintings I’ve selected were closer to the impressionist style and created by founding artists of this new movement.
The distinctively visual is used throughout peter goldsworthys novel ' maestro ' and the painting By edward munch ' the scream ' 1893. there is some overlap between the distinctively visual techniques used by these writers and painters. This is done through the use of visual imagery, metaphor, exaggeration and the use of colour. The extended metaphor of peter goldsworthy “to describe the world is always to simplify its texture, to coarsen the weave: to lose the particular in general”, portrays that once you try to represent something, you lose something of its real life essence and that the act of writing about something in the world simplifies it. Both texts revel important insights into human experiences by showing the reader how the character
Describe how Expressionism is visually and thematically characterized in art history. What does an Expressionistic Artwork mean? What are some of the similar stylistic elements seen in Expressionist artworks that are seen again and again? In your own words refer to the art book Caves to Canvas in the art room to see what is written about the art movement and try and add your own information and interpretation to this movement. The websites mentioned earlier should also assist?
We would try to examine diﬀerent styles in these historical periods of artworks; compare the changes; identify the images that symbolise the Indian lifestyle and landscape; discuss the issues of the past and present conveyed through art. Using a range of examples from the historical, indigenous and contemporary State Art collections, we would try to comment on orientalism, portrayal of women in Indian culture, use of artistic conventions, mediums, images and objects to depict Indian lifestyle and society. Identity, whether geopolitical, ethnic, gendered, institutional or personal, is not static. It is ﬂuid, it is changing and art as a medium participates in shaping this identity of the artist and the audience with time. An account based on a selected collection of art works will be
Ted Hughes’ poem, Sketching a Thatcher is a densely metaphorical text, loaded with figurative language. Its meaning is therefore often not immediately accessible and requires a deeper look from a reader in order to decipher the text. A more thorough analysis of the metaphoric constructions allows us to unlock its meaning and understand the essence of the ‘sketch’ that Hughes presents with this poem, enriching his portrait of an aged roof-thatcher and imbuing it with the quintessentially sketch-like quality that the title of the poem suggests. Deconstructing the imagery in terms of arguments, focal expressions and the tenor-vehicle constructions of the figurative language scattered through the text and evaluating the relationships between local and global metaphors of the poem allows a reader to connect the images into a coherent and more accessible pattern. In this essay, we will analyse a few of the local metaphors that form part of the central tenets of the poem and look at the ways in which they interact with each other as part of the global metaphor of the poem.