His style of painting or even the subject matter varied a lot. The self-portrait [see fig. 1.2] one shows the naturalistic rendering of the face and the half-bared body with the western techniques chiaroscuro of the use of light and shade. However, the way he painted the garment was totally different with dramatic dynamic and exaggerate black outlines, which could refer to Chen Hongshou’s style. It was obvious that the painting had the combination of western and traditional Chinese painting techniques. Nevertheless, in another painting, which, the landscape painting called The Ten Myriads shows that he was influenced by the Japanese manners of screen painting, and function of the work started to change into the decorative one.
In Art as Propaganda: Bringing Du Bois into the Sociology of Art, money is included as one of the key elements of the Du Boisian social theory of art. Particularly, the importance of artists receiving compensation for their work and consumer organizations, such as libraries and schools, supporting artists monetarily. Although this seems painfully obvious, it does present a key moment for more critical analysis. Particularly, how in contemporary times, this idea
The art market separate parts are: a money economy (or the Market) and the economy of attention, according to Malcolm Bull. These economies of the art world function separately, yet they can overlap each other. Bull clarifies the Market as the purchasing sector of the rich elitists of society; where as the economy of attention, a modern development, is based on the value of the reputation among iconic institutions and galleries. As strong as the social trend of money as power, the credibility of curators, critics and the institutions give weight to the attention they give with shows, reviews, etc. This is how an artist can be successful in the oversaturated market, while not reaching sales in the Market. Bull used [artprice.com] to gain auction sale data to understand the money economy which is reflective of confirmed sale values through the second sale of an artist work, while his data on the economy of art is from [artfacts.net].
The Renaissance was an incredible period for artistic patronage. It seemed as though it was nearly impossible for any well-to-do private individual to avoid some level of interaction with the art world, whether they required art to furnish their lavish houses, or to create religious iconography, or even to provide gifts for family and friends. For a royal family, or a member of the nobility, the need for artistic patronage was considerably larger, given the office they held. ‘Since an aura of personal splendour was a requirement of state, the line between public and private artistic consumption was often unclear. This was especially the case with the Medici, a family which long demonstrated
Japan’s literati paintings where inspired by China, which was only connected with Japan through Korea. One of the most famous painters of this style was Yosa Buson, using poetic ability with both haiku and his paintings. (Kleiner 1075) These changes soon led to the availability of cheap prints and ukiyo-e to depict the delights of the city. One of the most famous ukiyo-e printmakers was Suzuki Harunobu who influenced the development of polychrome prints. These prints were very sumptuous and colorful and called nishiki-e (“brocade pictures”). These prints were made of the best quality materials and costly pigments and were not very common in the Edo period. Harunobu’s genius in his work is well shown in the Evening Bell at the Clock (Fig. 34-1). This print was based on a Chinese series where the images depicted a certain time of day or time of year in the work. In Harunobu’s version, the subjects were beautiful young women and their activities in their daily lives. The two women in the pint are seen from a regular Japanese elevated point of view, with one drying herself and the other looking away at a clock. Private scenes like this were very common in ukiyo-e. Before Harunobu’s Evening Bell at the Clock, this theme was not a regular subject seen in ukiyo-e, but soon became a common sight. These prints used flatness and rich colors to
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and
From the early Renaissance period to the later popular Romanticism style of expression, the Middle Ages to pre modern time saw many individual became some of the greatest artists of all time. But for artists before the modern era, life was dramatically different than it is now. Creative expression followed majorly a patronage style. That is, the work of art is commissioned by usually some persons of power. A patron would agree with the artists upon price, time to complete, subject of work, and other pre specified
Japan is been always known for their unique artstyle, but none is more influential on both Japanese and western cultural than Katsushika Hokusai. Many consider his paintings the pinnacle of art in the Edo period. The old man of many names is a true part of both japanese and art culture.
by 15 ¾ in each. They are hung on the wall in separate white frames about five feet from the ground. The picture frames are hung in two rows, with two picture frames per row, making a square shape. The drawings are mixed media, made with charcoal, pastel, ink, collage, and graphite on paper. It is a restricted palette artwork, using only white, black, grey, and red in each drawing. The subject of each drawing is a man and birds; each drawing depicts the man in silhouette and the birds in either silhouette or very light sketching, and each drawing has a red line border around the perimeter of the paper. Each piece of paper appears to have been entirely covered in medium, there is no plain white paper left visible, so the overall background is a light grey. The paper used for each drawing has a raised and warped texture, as though it has been wet and dried, and been generally overworked. Moving clockwise, the first drawing in top left is of the silhouette of a man in the lower left corner, with one arm stretched over his head and the fingers pointing up towards a bird flying away in the top right corner of the drawing; the bird is much larger compared to the man. The stretched arm of the man creates the illusion of movement in the drawing, as well as a faint outline of a circle around the man that relates to the arch of his arm. The background has large
His early paintings had an unconventional, unique, and unfinished look about them. The images were known to everyone in everyday life.
As an artist one should have money to continue painting. Warnke’s article explain that in the renaissance time in Italy it was not the exception regarding how talented you were. In this period of time it was known as the rebirth of mostly everything. In a place filled of talented persons, Italy was the location in which performance were needed for one important time in a rich or important person.
The painting style of the handscroll is called otoko-e, or “men’s picture”. In contrast, there is another style called onna-e, or “women’s picture”. The characteristics of otoko-e are active movements, plenty outdoor scenes and a certain feeling of lacking restraint. In this handscroll, the movements of people are exaggerated. For example, in figure 1, everyone is chasing the storehouse. Their bodies are almost parallel to the ground. Seems like, in the next second, they will either ran really fast or fall down. Meanwhile, the painting included numerous outdoor scenes and only a few of them have some indoor depiction. In Figure 2, although it is a scene of the rich man’s house, most area of the painting was occupied by the yard of the house, only a little bit indoor environment is included in this picture. It seems like the painter tried his best to avoid indoor description. Moreover, based on the people’s movement, description of nature, and application of random curve, the whole scroll has a naturalistic and free
Art during the early renaissance time period was mostly commissioned by wealthy and powerful families. Ruling families were accepted by the average public. These families commissioned various and lavish artworks.