Sunday, November 11, 2007
Extra Credit
The colors used for the assignments were Primary, which are your red, yellow and blue...Then there were some secondary colors, orange, green and violet...Tertiary colors, which are the product of a primary color and an adjacent secondary color on the color wheel...warm colors, red-orange side of th wheel.
Friday, November 9, 2007
Final Museum Paper
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas.
In this Final Museum Paper I will compare and contrast the two paintings I chose from the National Gallery of Art Museum. The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas created during the Neoclassicism period, which lasted from 1750-1830 and was considered a spin-off of the Baroque period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (powerpoint) It was also done during the western movement in time and has a Naturalistic style, because of the way Wright takes the two people in the painting and position them in a way that the garments are highlighted and set in very distinctive patterns. The Houses of Parliament, Sunset, 1903, by Claude Monet, also oil on canvas created during the Modern period, which is characterized by a time of rapid change and growth in society. (powerpoint) This painting was also done during the post-impressionism movement, which means the artist came after impressionism. (514) In my paper I will write about design, mood, mediums, techniques, and style for the two paintings. In conclusion, I will summarize what I wrote about and give a brief description of what the two paintings mean to me. Speaking of paintings let’s take a look at the Houses of Parliament, Sunset and Corinthian Maid.
In the Corinthian Maid and Houses of Parliament, Sunset, both painters chose an Art an Art theme to describe their paintings. Themes provide a framework for exploring how complex a form of expression it can be. (50) In the Houses of Parliament, Sunset, it’s like Monet scouted a location, set up the lighting and waited for the right weather to paint his picture. (77) In contrast, Wright took a young girl and traced her sleeping lover’s silhouette onto the wall casting a shadow by producing an afterimage. (99) That image moves our eyes to the clothing worn on both the boy and girl, which have certain detailed design elements and lines.
In addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wright’s choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wright’s painting is smooth and fine with a dark tone. In contrast, Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In comparison to Wright’s painting with a three-dimensional space, that is, the actual space in which our bodies also stand. (106) This is how the mood is set up for the theme of these two paintings.
Again we look at how themes provide a framework for exploring how complex a form of expression it can be. (50) Looking at Wright’s painting our attention is drawn to the dog lying comfortable alongside his master as if he knew that there was going to be a long journey ahead. The purpose of this is to give the viewer an idea of what Wright was thinking about while creating this piece of art, which makes one feel sad and somber. In contrast, Monet took the beautiful London city with its fog and fiery sky to create a calm and soothing feel. These paintings were also done with distinctive mediums and techniques.
In the Corinthian Maid, Wright used oil on canvas to create his picture. Oil paints consist of pigment compounded with oil, usually linseed oil. (172) Wright used the oil to act as a binder, creating as it dries a transparent film in which the pigment is suspended. Also, the colors are blended subtly, in which layers of paint could be applied on top of other layers with little danger of separating or cracking. (173) In contrast, the composition in Monet’s Houses of Parliament, Sunset was worked out well in advance down to the very last detail and built up methodically, layer after layer. (175) He also used a classic procedure to complete the entire painting called grisaille. Monet’s bold, slashing brush strokes are an important part of his painting. In places the paint is layered thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to his painting. The reflection in the water, and the colors of the sky may come to mind, but his painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself and that’s what gives this painting style.
A naturalistic style is used in the Corinthian Maid, because of the way Wright takes the two people in his painting and position them in a way that the garments are highlighted and set in very distinctive patterns. Wright also records how forms are revealed by light and shadow, how bodies reflect an inner structure of bone and muscle, how fabric drapes over bodies and objects, and how gravity makes weight felt. (29) In contrast, The Houses of Parliament, Sunset, by Claude Monet who has an impressionist style. Style refers to a characteristic or group of characteristics that we recognize as constant, recurring, or coherent. (34) In his painting the colors are clear and bright and there is no difficult subject matter that needs explaining. (22)
In conclusion, I did a comparison and contrast of the two paintings Corinthian Maid, 1782-1784, by Joseph Wright and The Houses of Parliament, Sunset, 1903, by Claude Monet. I discussed in detail the subject, design, mood, medium and technique along with the style for each painting and what the two paintings represented. In doing so, I never knew when I chose these two paintings how much thought goes into creating a masterpiece. I chose these two paintings, because at the time they looked nice and reminded me of different events that I had experienced. I have learned so much about these paintings through this course that it is unreal. I have also come to realize that artists are very special people and through learning about design principles, styles, periods and movements, cultures, mediums and techniques, I’m almost to the point where I consider myself one of them.
Works Cited:
Getlein, Mark. Living with Art. 8th ed. New York: McGraw-Hill, 2008.
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas.
In this Final Museum Paper I will compare and contrast the two paintings I chose from the National Gallery of Art Museum. The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas created during the Neoclassicism period, which lasted from 1750-1830 and was considered a spin-off of the Baroque period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (powerpoint) It was also done during the western movement in time and has a Naturalistic style, because of the way Wright takes the two people in the painting and position them in a way that the garments are highlighted and set in very distinctive patterns. The Houses of Parliament, Sunset, 1903, by Claude Monet, also oil on canvas created during the Modern period, which is characterized by a time of rapid change and growth in society. (powerpoint) This painting was also done during the post-impressionism movement, which means the artist came after impressionism. (514) In my paper I will write about design, mood, mediums, techniques, and style for the two paintings. In conclusion, I will summarize what I wrote about and give a brief description of what the two paintings mean to me. Speaking of paintings let’s take a look at the Houses of Parliament, Sunset and Corinthian Maid.
In the Corinthian Maid and Houses of Parliament, Sunset, both painters chose an Art an Art theme to describe their paintings. Themes provide a framework for exploring how complex a form of expression it can be. (50) In the Houses of Parliament, Sunset, it’s like Monet scouted a location, set up the lighting and waited for the right weather to paint his picture. (77) In contrast, Wright took a young girl and traced her sleeping lover’s silhouette onto the wall casting a shadow by producing an afterimage. (99) That image moves our eyes to the clothing worn on both the boy and girl, which have certain detailed design elements and lines.
In addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wright’s choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wright’s painting is smooth and fine with a dark tone. In contrast, Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In comparison to Wright’s painting with a three-dimensional space, that is, the actual space in which our bodies also stand. (106) This is how the mood is set up for the theme of these two paintings.
Again we look at how themes provide a framework for exploring how complex a form of expression it can be. (50) Looking at Wright’s painting our attention is drawn to the dog lying comfortable alongside his master as if he knew that there was going to be a long journey ahead. The purpose of this is to give the viewer an idea of what Wright was thinking about while creating this piece of art, which makes one feel sad and somber. In contrast, Monet took the beautiful London city with its fog and fiery sky to create a calm and soothing feel. These paintings were also done with distinctive mediums and techniques.
In the Corinthian Maid, Wright used oil on canvas to create his picture. Oil paints consist of pigment compounded with oil, usually linseed oil. (172) Wright used the oil to act as a binder, creating as it dries a transparent film in which the pigment is suspended. Also, the colors are blended subtly, in which layers of paint could be applied on top of other layers with little danger of separating or cracking. (173) In contrast, the composition in Monet’s Houses of Parliament, Sunset was worked out well in advance down to the very last detail and built up methodically, layer after layer. (175) He also used a classic procedure to complete the entire painting called grisaille. Monet’s bold, slashing brush strokes are an important part of his painting. In places the paint is layered thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to his painting. The reflection in the water, and the colors of the sky may come to mind, but his painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself and that’s what gives this painting style.
A naturalistic style is used in the Corinthian Maid, because of the way Wright takes the two people in his painting and position them in a way that the garments are highlighted and set in very distinctive patterns. Wright also records how forms are revealed by light and shadow, how bodies reflect an inner structure of bone and muscle, how fabric drapes over bodies and objects, and how gravity makes weight felt. (29) In contrast, The Houses of Parliament, Sunset, by Claude Monet who has an impressionist style. Style refers to a characteristic or group of characteristics that we recognize as constant, recurring, or coherent. (34) In his painting the colors are clear and bright and there is no difficult subject matter that needs explaining. (22)
In conclusion, I did a comparison and contrast of the two paintings Corinthian Maid, 1782-1784, by Joseph Wright and The Houses of Parliament, Sunset, 1903, by Claude Monet. I discussed in detail the subject, design, mood, medium and technique along with the style for each painting and what the two paintings represented. In doing so, I never knew when I chose these two paintings how much thought goes into creating a masterpiece. I chose these two paintings, because at the time they looked nice and reminded me of different events that I had experienced. I have learned so much about these paintings through this course that it is unreal. I have also come to realize that artists are very special people and through learning about design principles, styles, periods and movements, cultures, mediums and techniques, I’m almost to the point where I consider myself one of them.
Works Cited:
Getlein, Mark. Living with Art. 8th ed. New York: McGraw-Hill, 2008.
Wednesday, November 7, 2007
Activity #13
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas and The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas are paintings that were done during different movements and there styles are different as well. This essay will discuss the styles, movement, period and culture of the two paintings.
The Corinthian Maid has a naturalistic style, because of the way Wright takes the two people in the painting and position them in a way that there garments are highlighted and set in very distinctive patterns. Wright records how forms are revealed by light and shadow, how bodies reflect an inner structure of bone and muscle, how fabric drapes over bodies and objects, and how gravity makes weight felt. (29) This painting was done during the western movement in time. Movements are shorter in spans of time then periods and often are associated with a period in art. (powerpoint) The period of this piece was considered neoclassicism a spin-off of the Baroque period of art. Neoclassical artists worked in a variety of individual styles, but in general, like any art labeled classical, neoclassical art emphasized order, clarity, and restraint. (586) Also, the culture of this painting was done during a time when the American Revolutionary War was taking place. Culture is defined as a stage of civilization or a society, American, French, Japanese, Russian, Indian, etc. (powerpoint) This is definitely a fine work of art and symbolizes a time when different artists experimented with styles during different movements in time.
The Houses of Parliament, Sunset, by Claude Monet, 1903, oil on canvas has a style that I would consider a classical style. Style refers to a characteristic or group of characteristics that we recognize as constant, recurring, or coherent. (34) In this painting the colors are clear and bright. There is no difficult subject matter that needs explaining. (22) The movement in this piece would be considered post-impressionism. Post-Impressionism means that the artist of that time came after the impressionism. (514) During this period known as the Modern period characterized by a time of rapid change and growth in society. (powerpoint) The culture for The Houses of Parliament, Sunset, can be described best by the time that technology took a social change in America and during the industrial revolution.
In conclusion both paintings have unique styles and were done during different movements and periods of time that had an effect on there culture.
The Corinthian Maid has a naturalistic style, because of the way Wright takes the two people in the painting and position them in a way that there garments are highlighted and set in very distinctive patterns. Wright records how forms are revealed by light and shadow, how bodies reflect an inner structure of bone and muscle, how fabric drapes over bodies and objects, and how gravity makes weight felt. (29) This painting was done during the western movement in time. Movements are shorter in spans of time then periods and often are associated with a period in art. (powerpoint) The period of this piece was considered neoclassicism a spin-off of the Baroque period of art. Neoclassical artists worked in a variety of individual styles, but in general, like any art labeled classical, neoclassical art emphasized order, clarity, and restraint. (586) Also, the culture of this painting was done during a time when the American Revolutionary War was taking place. Culture is defined as a stage of civilization or a society, American, French, Japanese, Russian, Indian, etc. (powerpoint) This is definitely a fine work of art and symbolizes a time when different artists experimented with styles during different movements in time.
The Houses of Parliament, Sunset, by Claude Monet, 1903, oil on canvas has a style that I would consider a classical style. Style refers to a characteristic or group of characteristics that we recognize as constant, recurring, or coherent. (34) In this painting the colors are clear and bright. There is no difficult subject matter that needs explaining. (22) The movement in this piece would be considered post-impressionism. Post-Impressionism means that the artist of that time came after the impressionism. (514) During this period known as the Modern period characterized by a time of rapid change and growth in society. (powerpoint) The culture for The Houses of Parliament, Sunset, can be described best by the time that technology took a social change in America and during the industrial revolution.
In conclusion both paintings have unique styles and were done during different movements and periods of time that had an effect on there culture.
Wednesday, October 31, 2007
Re-write Activity #11 Period and Culture
This essay will compare and contrast the periods and cultures of The Corinthian Maid, oil on canvas painting by Joseph Wright and The Houses of Parliament, Sunset, also oil on canvas painting by Claude Monet.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (PowerPoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Modern Period. This is a period that is characterized by a time of rapid change and growth in society. (PowerPoint) Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society, American, French, Japanese, Russian, Indian, etc. (PowerPoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change in America. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
This essay will compare and contrast the periods and cultures of The Corinthian Maid, oil on canvas painting by Joseph Wright and The Houses of Parliament, Sunset, also oil on canvas painting by Claude Monet.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque Period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (powerpoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Post-Impressionism Period. This is a period that lasted from 1886-1905 and was used mostly by French painters. Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society. (powerpoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (PowerPoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Modern Period. This is a period that is characterized by a time of rapid change and growth in society. (PowerPoint) Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society, American, French, Japanese, Russian, Indian, etc. (PowerPoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change in America. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
This essay will compare and contrast the periods and cultures of The Corinthian Maid, oil on canvas painting by Joseph Wright and The Houses of Parliament, Sunset, also oil on canvas painting by Claude Monet.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque Period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (powerpoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Post-Impressionism Period. This is a period that lasted from 1886-1905 and was used mostly by French painters. Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society. (powerpoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
Wednesday, October 24, 2007
Critical Thinking Essay
"Cabinet Makers", 1946, by Jacob Lawrence, Gouache with pencil underdrawing on paper.
"Untitled", 2002, (forground), by Dan Steinhilber.“Cabinet Makers”, 1946, by Jacob Lawrence, Gouache with pencil under drawing on paper and “Untitled”, 2002, (foreground), by Dan Steinhilber are the two pieces we chose for this essay. The reason Emory chose to save the first piece from the Hirshhorn Museum and Sculpture Garden in case a Meteorite was to destroy the building can be summed up in about two hundred words and the second piece by Caroline will follow. First, lets take a look at the portrait by Jacob Lawrence, Cabinet Makers.
Cabinet Makers is a piece with bold splashy colors, done in the Modern period. Modern period is characterized by a time of rapid change and growth to society. In this painting he gives us a history of African Americans that capture a fearless struggle against oppression and there is real heart embedded in his shapes and hues- a sense of hope and optimism, a celebration of a people who refuse to be kept down. Lawrence was a storyteller who used this painting to express an important tale by doing a series of pictures on a single subject. I also like this painting, because of the skewed perspectives and sharp, angular forms he used to convey the energy, movement and tension of the everyday worker. Lawrence's signature style of bold colors, two-dimensional, flat forms, angular planes and tilted viewpoints gave this painting an interesting harmony between form and content.
In conclusion, this painting is definitely a keeper, because of the history it contains for African American artists, its bold colors, angular shapes and not to mention the dynamic cubism style.
2ND Piece of Art
The artwork that Caroline took keen interest on is “untitled” by Dan Steinhilber 2002, (foreground). This is a sculptural artwork that I can relate to because I value the earth and I love to recycle consumer goods as much as I can. Artist, Steinhilber deploys a dramatic impact to me because “untitled” has been constructed or assembled by the use of recycled white kitchen trash bag that has been inflated and tied together by the trash bags distinctive red draw strings; it kind of looks like a giant round flower or giant cotton ball? We can use our imagination here; I guess that’s why it has no specific title; assembling is a process by which individual pieces or segments or objects are brought together to form a sculpture. (Getlein 272) This artwork sure reflects the time and era we live in where each day the TV news, newspapers or magazines we hear about “Save the earth day, latest invention of energy saving appliances, recycling campaign, keep the earth green slogans” the list is endless. I would love to save this sculptural artwork also because of its inflatability characteristics and resiliency which could make it possible to deflate to a standard size and inflate it back again to its magical giant scale by use of wet to dry vacuum as operated at the museum and haul it to a safer environment.
In conclusion, the artist has used mass produced consumer materials to construct an object capable of inducing an aesthetic response; however, inspires the observer to imagine the humanities accumulations and natures slowly overtaking.
Tuesday, October 23, 2007
Activity #10-Mediums and Techniques
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas. Oil paints consist of pigment compounded with oil, usually linseed oil. (172) In the Corinthian Maid, Wright uses the oil to act as a binder, creating as it dries a transparent film in which the pigment is suspended. Another great advantage of oil is that it can be worked in an almost infinite range of consistencies, from very thick to very thin, Wright chose thin. Also, the colors are blended subtly, in which layers of paint could be applied on top of other layers with little danger of separating or cracking, (173) which is shown in this painting. Joseph Wright, for example, did this painting in glazes, thin translucent veils of color applied over a thicker layer of under painting. (175) This painting also shows the smooth, flawless finish and glowing color that glazes can produce on canvas. By using canvas Wright is able to stretch it out over a wooden frame, sizing it with glue to seal the fibers and protect it from the corrosive action of the oil paint, and then coat it with a white, oil-base ground preserving its image, which is the most important thing and has the visual impact that makes you focus on the two people.
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas. For about five hundred years the word “painting” was virtually synonymous with “oil painting”. (173) Oil paint is a sensuous medium, it has a distinctive feel and a distinctive smell and working with it can be a pleasure as shown by this magnificent piece. (176) The composition in this painting was worked out well in advance down to the very last detail, and built up methodically, layer after layer. (175) He used a classic procedure to complete the entire painting called grisaille. Also colored glazes are floated over the entire image, and the light and dark colors show through the painting as modeling. Monet’s bold, slashing brush strokes are an important part of this painting. In places the paint is layered quite thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to this painting. The reflection in the water, and the colors of the sky may come to mind, but this painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself.
In conclusion, both pieces are oil on canvas and have a very distinctive look with one having focus on the smooth glaze look and the other with the thick brushstrokes.
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas. For about five hundred years the word “painting” was virtually synonymous with “oil painting”. (173) Oil paint is a sensuous medium, it has a distinctive feel and a distinctive smell and working with it can be a pleasure as shown by this magnificent piece. (176) The composition in this painting was worked out well in advance down to the very last detail, and built up methodically, layer after layer. (175) He used a classic procedure to complete the entire painting called grisaille. Also colored glazes are floated over the entire image, and the light and dark colors show through the painting as modeling. Monet’s bold, slashing brush strokes are an important part of this painting. In places the paint is layered quite thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to this painting. The reflection in the water, and the colors of the sky may come to mind, but this painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself.
In conclusion, both pieces are oil on canvas and have a very distinctive look with one having focus on the smooth glaze look and the other with the thick brushstrokes.
Wednesday, October 17, 2007
Activity #9 Camera Essay
During the 19th century the camera took visual art to a whole new level. There was a new visual outlook after the emergence of the camera. Artist started making their paintings look more photographic. Before the camera the main purpose of Art was to record. The camera was able to take pictures of moving images and capture light. As a result, Artist began to use more of the design elements to be expressive. Cropping and color were becoming to be more visible in paintings. Cropping off the heads of individuals by bringing their images closer to the front of the painting was done to give this type of effect. Also, the use of many different colors to make paintings stand out and shift the focus on the vibrant colors was becoming the norm. But, the camera was able to take still shots and full figured pictures.
During the war cameras were used to take pictures and show what was happening right then as opposed to waiting for Artists to paint a portrait after the event occurred. The camera relies on a natural phenomenon known as antiquity: that light reflected from an object can, under controlled circumstances, project an image of that object onto a surface. (209) This among many other reasons is why the camera became very instrumental in the art world and a new way of painting pictures had arrived. The visual outlook will never be the same after the camera, because it created a new way for artists to express themselves.
During the war cameras were used to take pictures and show what was happening right then as opposed to waiting for Artists to paint a portrait after the event occurred. The camera relies on a natural phenomenon known as antiquity: that light reflected from an object can, under controlled circumstances, project an image of that object onto a surface. (209) This among many other reasons is why the camera became very instrumental in the art world and a new way of painting pictures had arrived. The visual outlook will never be the same after the camera, because it created a new way for artists to express themselves.
Wednesday, October 10, 2007
Activity #7 Re-write Exhibition Intro-Politics and Social Order
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
Tuesday, October 9, 2007
Re-do ART 101 Mid-Term Exhibition
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
The Capture of Carthage, 1725–29, by Giovanni Battista Tiepolo, oil on canvas. Metropolitan Museum of Art
George Washington, ca. 1779–81, by Charles Willson Peale, Oil on canvas. Metropolitan Museum of Art.
The Sortie made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Horatio Gates, ca. 1793–94, by Gilbert Stuart, Oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
The Epiphany, possibly ca. 1320, Giotto di Bondone
Tempera on wood, gold ground. Metropolitan Museum of Art.
Saint Lucy and Her Mother at the Shrine of Saint Agatha, 1367-98, Giovanni di Bartolommeo, Tempera on wood, gold ground. Metropolitan Museum of Art.
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
Madonna and Child Enthroned with Saints, altarpiece, ca. 1504, Raphael Sanzio, oil and gold on wood. Metropolitan Museum of Art.
The Sortie Made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
Wednesday, October 3, 2007
Activity #5
"The Corinthian Maid, 1782-1784," by Joseph Wright, oil on canvas
"The Houses of Parliament, Sunset, 1903," by Claude Monet, oil on canvas
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas gives you a more Human experience theme, while The Houses of Parliament, Sunset, 1903 by Claude Monet; also oil on canvas has an Art an Art theme.
In the painting The Corinthian Maid, the young girl traced her sleeping lover’s silhouette onto the wall casting a shadow by producing an afterimage (99). That image moves our eyes to the clothing worn on both the boy and girl, which are of primary colors with monochromatic harmonies (97). Wright then brings our attention to the dog lying comfortable alongside his master as if he knew that there was going to be a long journey ahead. The dog color is somewhat of a mixture of black and white (gray), opposite of the hue on the color wheel (96). This painting is also executed thinly, smoothly, and precisely, with drier, thicker highlights. Monet on the other hand has taken a more Art an Art theme. The beautiful London city with its fog and fiery sky has a calm soothing feel. Those cool colors, because of their association with the sky, water, shade, and so on make the painting a work of art (95). Looking into the water we can see a figure that looks like a man rowing a boat, but the shadows on the waves doesn’t allow us to focus on that, rather we see the sky and the formation of buildings. This backlit effect is very captivating and we can explore varieties of delight, the natural, instinctive pleasure in the everyday experience of looking (79).
Monday, October 1, 2007
Color game
Color me Bad color game
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
Wednesday, September 26, 2007
Activity #4 Re-write
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. The whole painting is bathed in implied candlelight that gives the entire painting a warm glow. This warm glow can be seen by colors on the red-orange side of the color wheel. Emphasis is drawn to the center of the painting where the man and woman are sitting. Emphasis means that our attention is drawn more to certain parts of a composition than to others. (134) The pattern shown here is repetitious of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern. (105) Wright also uses balance to create a solid composition. By drawing a line down the center of the painting we can see that this picture has a symmetrical balance. The size, shape and placement of the man and woman show this imagery.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses asymmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.The high peaks and vertical lines of the buildings with the cool colors of the sky give this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole. (122) We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size. (136) In contrast to Wright, Monet has kept an asymmetrical balance in this painting by shifting the weight to the right. In conclusion, both artists seemed to have used vertical lines, but differed in balance.
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. He uses cool colors to make the man and woman the emphasis of this painting. Emphasis means that our attention is drawn more to certain parts of a composition than to others (134). The pattern shown here is of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern (105). By placing the man opposite of the woman on the chair leaning forward, Wright creates balance. Wright’s painting balances because its weight is distributed evenly around the center of the painting (124). It will be either symmetrical, like when you stand with your feet flat on the floor and your arms at your side (129). In this case Wright uses asymmetrical balance judging by the way the woman extends her arm out to the man opposite of her.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses as symmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.
The high peaks and implied lines of the buildings with the cool colors of the sky gives this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole (122). We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size (136). Monet has indeed kept a symmetrical balance in this painting by somehow making the images off the water mirror one another. With symmetrical balance, implied center of gravity is the vertical axis, an imaginary line drawn down the center of the composition (125). In conclusion, both artists have used different themes and in some degree different principles as well, but both are great works of art.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. The whole painting is bathed in implied candlelight that gives the entire painting a warm glow. This warm glow can be seen by colors on the red-orange side of the color wheel. Emphasis is drawn to the center of the painting where the man and woman are sitting. Emphasis means that our attention is drawn more to certain parts of a composition than to others. (134) The pattern shown here is repetitious of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern. (105) Wright also uses balance to create a solid composition. By drawing a line down the center of the painting we can see that this picture has a symmetrical balance. The size, shape and placement of the man and woman show this imagery.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses asymmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.The high peaks and vertical lines of the buildings with the cool colors of the sky give this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole. (122) We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size. (136) In contrast to Wright, Monet has kept an asymmetrical balance in this painting by shifting the weight to the right. In conclusion, both artists seemed to have used vertical lines, but differed in balance.
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. He uses cool colors to make the man and woman the emphasis of this painting. Emphasis means that our attention is drawn more to certain parts of a composition than to others (134). The pattern shown here is of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern (105). By placing the man opposite of the woman on the chair leaning forward, Wright creates balance. Wright’s painting balances because its weight is distributed evenly around the center of the painting (124). It will be either symmetrical, like when you stand with your feet flat on the floor and your arms at your side (129). In this case Wright uses asymmetrical balance judging by the way the woman extends her arm out to the man opposite of her.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses as symmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.
The high peaks and implied lines of the buildings with the cool colors of the sky gives this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole (122). We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size (136). Monet has indeed kept a symmetrical balance in this painting by somehow making the images off the water mirror one another. With symmetrical balance, implied center of gravity is the vertical axis, an imaginary line drawn down the center of the composition (125). In conclusion, both artists have used different themes and in some degree different principles as well, but both are great works of art.
Wednesday, September 19, 2007
Activity #2 Re- write ART 101 On-Line Museum Visit
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Speaking of lines, in addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wrights choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wrights painting is smooth and fine with a dark tone. In contrast, Monet’s painting has more of a visual component as well as a tactile one. (104) Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In contrast, Wright’s painting has a three-dimensional space, that is, the actual space in which our bodies also stand. (106) In conclusion, Monet and Wright use a variety of colors and lines to make their artwork, and that is also where they differ.
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Wright used implied lines, which act as a series of dots that are spaced closely enough that our mind connects them (86). Wright uses the position of the arms and legs in order to show the linear perspective in which there figures look stiff and motionless. Cool colors are used in the background of Monet’s painting; in contrast Wright chooses warm colors (95). Like the color wheel, the sky beyond the buildings is illuminated with primary colors, while the clothes on the man and woman are of a more secondary color (95). The texture of Wrights painting is smooth and fine, while Monet’s has more of a rough unrefined look (103). In it’s two-dimensional form the shape that is created from the buildings on the water are identifiable boundaries and the mass three dimensional form that occupies the volume of space in Wright’s painting is denoted by the open doorway (87).
In conclusion, both paintings are similar in line but differ in mass
Speaking of lines, in addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wrights choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wrights painting is smooth and fine with a dark tone. In contrast, Monet’s painting has more of a visual component as well as a tactile one. (104) Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In contrast, Wright’s painting has a three-dimensional space, that is, the actual space in which our bodies also stand. (106) In conclusion, Monet and Wright use a variety of colors and lines to make their artwork, and that is also where they differ.
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Wright used implied lines, which act as a series of dots that are spaced closely enough that our mind connects them (86). Wright uses the position of the arms and legs in order to show the linear perspective in which there figures look stiff and motionless. Cool colors are used in the background of Monet’s painting; in contrast Wright chooses warm colors (95). Like the color wheel, the sky beyond the buildings is illuminated with primary colors, while the clothes on the man and woman are of a more secondary color (95). The texture of Wrights painting is smooth and fine, while Monet’s has more of a rough unrefined look (103). In it’s two-dimensional form the shape that is created from the buildings on the water are identifiable boundaries and the mass three dimensional form that occupies the volume of space in Wright’s painting is denoted by the open doorway (87).
In conclusion, both paintings are similar in line but differ in mass
Sunday, September 16, 2007
Activity #1: On Line Museum Visit
This oil on canvas painting (created by Joseph Wright), in 1782 - 1784 is of the Paul Mellon Collection at the National Gallary of Art and is titled "The Corinthian Maid". According to the pioneer of pottery manufacturing, John Wedgewood, the mythological view of this picture is a scene that illustrates the invention of the art of modelling basis basrelief sculpture. The female in the picture is tracing (making an outline of the male's body) her lover's sillouette on the wall for a keepsake, as he sleeps.
This oil on canvas painting titled "The Houses of Parliament, Sunset", was painted by Claude Monet, in 1903 is of the Chester Dale Collection. Trenched in massive amounts of fog, the view of this picture is a darkened silhouette of some of London, England's famous landmarks in the late 1890s.
Thursday, September 13, 2007
Creative Blog
Hiawatha, Modeled 1871–72, carved 1874, by Augustus Saint-Gardens, Marble.I chose this sculpture, because it was a popular wellspring of themes for American artists during the late nineteenth century.
Abraham, ca. 1408–10, by Lorenzo Monaco,Tempera on wood, gold ground. I chose this piece because it represented the Sacred Realm.
Cypresses, 1889, by Vincent van Gogh, oil on canvas. I chose this because it has a splash of black in a sunny landscape, which makes it a unique piece of art.
Virgin and Child, 1475–99, by Workshop of Dieric Bouts, Oil on wood. The Virgin and Child is set apart by the high quality of its background landscape and the subtlety of its modelling.
Still Life with Apples and a Pot of Primroses, ca. 1890, by Paul Cézanne, Oil on canvas. I like this still life piece, because the emphasis is focused on the apples and the primroses..jpg)
Gable Figure (Dilukai), Late 19th–early 20th century, by Belau (Palau), Wood, paint, kaolin. I like this piece, because it was done in the Modern Period of time.
Painted by British painter Stanley William Hayter, "Cinq Personnages, 1946" (title of painting) illustrates how color is used intuitively as a means of expressing emotions and feelings. To me, this painting resembles how various techniques and printmaking processes can be applied to one piece and result in a fun and exquisite display of lines and asymmetry.
The Fortune Teller, probably 1630s, by Georges de La Tour, Oil on canvas.La Tour's painting can be interpreted as a genre or theatrical scene, or as an allusion to the parable of the prodigal son.
Venice, from the Porch of Madonna della Salute, ca. 1835, by Joseph Mallord William Turner, Oil on canvas. Notice how Turner used smooth brush strokes to create the sky.
"The Annunciation, ca. 1290–1300", by German, Pot-metal glass, vitreous paint.
The angular linearity of the painting style, with its bold slashing strokes, combined with the strong junctures of color, make these panels exceptional examples of German glass painting.
"Border #8, 1997-98" by Michal Rovner, Paint on canvas.
This still from the video, has been enhanced in color, scale, and texture.
"The Adoration of the Shepherds, 1450" by Andrea Mantegna, Tempera on canvas, transferred from wood.Looking at this picture you can tell that the balance is a asymmetrical, with the weight on the right.
"The Gulf Stream, 1899" by Winslow Homer, Oil on canvas.
I like the way the sea changes in the back of the ship, making the composition more dramatic and vivid.
"Amaryllis, 1965", by Tony Smith, Painted steelThis eccentricity of form reminds me of the unusual organic shape of an amaryllis plant.
"A Goldsmith in His Shop, Possibly Saint Eligius, 1449", by Petrus Christus , Oil on oak.
The convex mirror at the right, which reflects the market square beyond the counter, is an even bolder illusionistic device linking the pictorial space to that of the viewer.
"Girl Reading at a Table, 1934", by Pablo Picasso, Oil and enamel on canvas.
Sinuous rhythms absorb the straight linear accents of the table, and the exaggerated height of both table and plant emphasizes the young woman's childlike appearance.
"The Baptism of Christ," by Sébastien Bourdon (French, 1616–1671), Oil on canvas.The scale of this devotional picture suggests who this picture was painted for. The cool colors, soft surfaces, and hazy atmosphere shows off its characteristics.
"Dance, 1912", by Henri Matisse, Oil on canvas
It is indeed the color, luminous and bright, that enlivens this painting and suggests a zest for life.
"The Toilet of Venus, 1751", by François Boucher, Oil on canvas
This picture has definite emphasis on the lady, with the little angels all around her.
"The Crucifixion; The Last Judgment, ca. 1430," by Jan van Eyck and Workshop Assistant, Oil on canvas, transferred from woodThe "Crucifixion" is presented as an eyewitness account set against a distant landscape, astonishing for its depth and subtlety of description. In contrast, the "Last Judgment" is organized hieratically in three tiers, with the scale of the figures manipulated to indicate their relative importance. The texts on the frames are given form in the pictures with remarkable literalness, establishing a play between word and image. The theme of this picture has to be Politics & Social Order.
"The Trinity, lunette, 1488" by Bartolomeo di Giovanni, Tempera on wood.Saint Jerome is shown in his cell near Bethlehem, supported by his brethren. Above the bed are two juniper branches, palms, a crucifix, and Jerome's cardinal's hat. This composition expresses a social heirarchy.
" The American School, 1765" by Matthew Pratt (1734–1805) Oil on canvas. This picture has a nice variety of shade and color and reminds me of an office setting.
"Fur Traders Descending the Missouri, 1845", By George Caleb, oil on canvas
This spare and deceptively simple composition has smooth texture and reminds me of a fishing trip I once took.
This spare and deceptively simple composition has smooth texture and reminds me of a fishing trip I once took.
"Still Life with Vegetables, 1905-6" is an oil on canvas painting by Henri Matisse. Matisse used Neo-Impressionist blocks of color while he included his pictures with flatter areas of color to illustrate a compilation of fallen vegetables with items that are upright and stationary (i.e., the red pitcher and the yellow coffee pot). To me, this picture resembles my kitchen during dinner time when the ingredients are haphazardly placed as food is being prepared.
Created by Georges-Pierre Seurat, "Circus Sideshow" is an oil on canvas painting that illustrates a systematic connection of scientific theories between aesthetics, physiology, and psychology senses. Through Circus Sideshow, Seurat expressed how "art is harmony" and how harmony includes elements of tone, color, and lines.
Titled "Splashed-color Landscape, 1965", this painting was created by Zhang Daqian and is loaded with currents of modern Western art, including Abstract Expressionism. To me, the vibrant color of blue that protrudes among the more dismal colors reminds me that there is hope during gloomy times (even if it's only a glimmer of sunshine).
Activity #3
This picture is by Pierre Bonnard
The Terrace at Vernonnet, 1939
This symmetrical piece, is full of color and has unity and variety.
Activity #3
Icarus, 1947, Made by Henri Matisse (French, 1869-1954)
This asymmetrical piece has a bold and playful image that reminds me of a man dancing with a heart full of love.
Titled "The Steeplechase, Coney Island, 1929", American artist Milton Avery portrayed feelings of his favorite summer pasttime (weekend trips to Coney Island) where he and his family often attended as a recreational activity. Avery painted a bustling scene of Coney Island that includes sunbathers, crowds, tent, rifle range, and a roller coaster. Depicting elements of all sizes and shapes of humans, Avery expressed his humorous side through the oddly shaped figures, posed awkwardly on the beach. To me, the colors are darker and grouded to reflect an atmostphere for relaxation and peace.
This picture, titled "The Block, 1971" was created by American artisit Romare Bearden. 'The Block' is a tribute to Harlem (a neighborhood in New York City) where Bearden established the first studio in 1940 on 306 W. 125th Street. This picture reminds me of my times in New York City where I spent part of my life. The various vibrant colors resemble the vast ethinicities and fast paced environment that existed (and still exists) during my childhood.
A resemblance of twelfth-century Japanese paintings, Hiroshi Sugimoto titled this painting "Boden Sea, Uttwil, 1993". The illustation of this painting describes the the contact between Earth's surface and the ether. It is also a metaphor for the bounds of our mental and visual perception. I chose this painitng, because it is peaceful and reminds me of serenity, also I like the shade and texture.
This oil on canvas painting by French artist Jean-Baptiste-Camille Corot is titled "Hagar in the Wilderness, 1835". The painting is a biblical illustration of Israel (the father of Abraham). My perception of this painting is someone calling for help and an Angel flying above to bring comfort and assistance to someone in need. The lines in this picture displays a definite pattern.
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The displayed piece is titled "Report from Rockport" by Stuart Davis and is a representation of the town center in Rockport, Massachusetts. This oil on canvas painting is considered to be Davis' most essential work since it was his first exhibition where he expressed his color-space theory. Davis believed that color could be an identifier of spatial relationships via its positioning next to other colors. Some colors shine, while others recede, which suggests the illusion of a three-dimensional space on a two-dimensional surface. To me, this picture depicts happy feet of individuals who are simply enjoying life to the fullest. If viewing this picture with an open mind, the viewer can possibly see multiple people engaged in various activities, who seemingly are having a good time... and where else, at the town center in Rockport, Massachusetts.
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