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.
Features of Bauhaus-style architecture, also known as the International style, include glass curtain walls, cubic blocks, and unsupported corners. Those who worked at the school shared three clear ideals with Gropius: to stop each of the forms of art from being isolated from each other; to raise the status of crafts to the same level as that of fine arts; and to maintain contact with the leaders of industry and craft, in order to achieve independence from government control by selling
Desta Sharp Writing September 19 2012 To Analyze an Analysis Bric-A-Brac: The Everyday Work of Tom Friedman is an essay written by Jo Applin to critique Tom Friedman’s artwork. Jo Applin writes this analysis with the intentions of providing the reader with an understanding of Friedman’s work. Tom Friedman is an artist that turns everyday materials and objects into beautiful drawings, photographs, and sculptures. His use of the methods bricolage and braconnage would be considered fascinating. Jo Applin’s critique and arguments are some that I definitely would agree with!
Art Essay When applying the conceptual framework to art and art making; one considers the relationship between the artist, the artwork, their audience and their world. This essay, more specifically, focuses on a relationship between artist, artwork and their world. Rosemary Laing and Ricky Swallow both explore interpretations of a sense of time or timelessness in the world around them through their methodologically unrelated yet conceptually paralleled bodies of work. Chronologically following the evolution of the works of Ricky Swallow, one might begin to doubt the authenticity of the claims that all were created by the same hands. In the late 20th century and early 21st, Swallow seems unable to focus on one particular medium, or set of
The term Romanesque refers to a medieval movement of art that mainly occurred in the eleventh and twelfth centuries. According to Anne Shaver-Crandell in her work concerning the Middle Ages, this term was initially used in regards to architecture. She stated that the term speaks of the similarities of the standard eleventh and twelfth century buildings of Europe to the “thick-walled, vaulted masonry structure of the ancient Romans (Shaver-Crandell, 3).” But Romanesque painting is different from Romanesque architecture and sculpture. The architecture and sculpture of this art movement showed rapid and innovative developments, which soon enough set it apart from the movements it preceded. In essence, architecture and sculpture developed into their own true Romanesque style, unlike painting which seems to have simply developed to appear more “Roman.” This may lead one to think that painting of the eleventh and twelfth centuries were
Inspired by the Ancient Greek thinkers and encouraging new ways of thinking and creating, letting artists and inventors push their boundaries, humanism supported education in science and astrology, mathematics and languages. One such thinker and writer was Francois Rabelais whose satirical work, Gargantua and Pantagruel, has lived on through the ages. The question is, based on these extracts, how is it clear that Rabelais himself, a monk who started out in the Franciscan and moved onto the Benedictine order, was a humanist? The main protagonists of Rabelais’ stories, Gargantua and Pantagruel, who are depicted as giants, symbolise the nobility and omnivorous curiosity that typified the humanistic scheme. Rabelais’ work is a far cry from the earnest moral and educational programs of the early humanists.
Examination of the birth of post-modernism would be incomplete without the discussion of two artists, each uniquely instrumental in tearing down the dogma of formalism set by Clement Greenberg: Robert Rauschenberg and Jasper Johns. These two artists challenged the bedrock of Greenbergian formalism of the 50’s (Abstract Expressionism) and pioneered new art practice which is now recognized as post-modernism. The work of Rauschenberg and Johns was brave and pivotal in shifting the belief about what art was and what art could be. This paper will formally analyze two works, “Bed” by Rauschenberg’s ” with Jasper’s “Target with 4 faces” for the purpose of identifying commonalities and differences. The two works were purposefully chosen for two reasons: external response and the artist’s initial motivation.
Ai Wei Wei’s exposure to these artists led to the development of his first major body of work. Using everyday familiar objects questioned the authenticity of the art. Ai Wei Wei produced a series of ready mades each challenging the original functions of the objects forcing them to be seen in new ways. As a result of this Ai Wei Wei moved away from traditional ways of displaying art and playing with the
The development of perspective during the early Renaissance Bori Tóth Milestone Summer term, Art History course Introduction The aim of this paper is to describe the development of perspective during the Renaissance, how different perspectives were invented and used. To grab the essence of the topic, I would like to quote Albrecht Dürer, a famous German artist of the era, who summarized the new tendency: The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences. Perspective itself and the innovations To go in the depth of this topic, first it is necessary to define what perspective is. Perspective is an approximate representation of an image (as it is
Integrating Typography and Motion in Visual Communication Soo C. Hostetler Department of Art University of Northern Iowa email@example.com Over time, typography has gradually changed in response to major factors like individual differences, technological advancement, and cultural evolution. Motion is physiologically linked to our self-awareness, and, as such, is always inseparable from our daily experience. By its very nature, through such discernible attributes as direction and velocity, the mere presence of motion cannot help but call to mind such qualities as dynamism and energy. When combined through technological means, typography, motion and emotion retain many of their separate characteristics, while they also enable designers to make new, synergistic consequences. In recent decades, technological innovation has greatly improved our potential for visual communication.