Analysis Of ' El Greco Made Me '

Both of these paintings show the love and desire to hold on to ones heritage and family traditions which is extremely important in Hispanic families. Both with vivid colors and images. In Kahlo’s “Self Portrait on the Border Line Between Mexico and the United States”, even though she is a Mexican woman living in a non-Mexican country, she is able to accept both sides and hold on to her own Mexican heritage and culture which it seems she preferred. In Garza’s “Camas Para Sueños”(Beds for Dreams), Garza is showing the love and closeness she had with her sister and how her mother allowed them to dream and reach after those dreams as they kept

This exhibition showcases art from the fifteenth century and early sixteenth century with Lord of Texcoco and the Texas Fragment. These two pieces represent post-Conquest art, and how indigenous figures were represented with European influence. In the seventeenth century, Antonio Rodriguez painted The Portrait of Moctezuma as well. His representation of Moctezuma showcases traditional clothing with European influence of modeling figures. This exhibition also features Miguel Cabrera, who was trained in European techniques and styles in Mexico during the eighteenth century under the patronage of Archbishop of Mexico, Manuel Joseph Rubio y Salinas. The exhibition features various artists from the nineteenth century as well, such as Felix Parra, Leandro Izaguirre, and Juan Cordero from the Royal Academy of San Carlos in Mexico City. Artists in the academy were trained in European styles of Neo-Classical forms to create their historical subjects. The purpose of the academy was to provide an outlet for legitimacy through the visual arts, and to reflect a nation's history. Often times, these paintings were political in nature, and reflected the patrons' wishes. This exhibition will link the representations of indigenous figures that appeared in Latin America through art in Mexico from the fifteenth to the nineteenth century and showcase how art

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

Alvaro was the one that was quiet and would copy other people's paintings instead of making some kind of original and unique art. Cristobal was the troublemaker that would steal things from Mr.Velazquez and blame it on Juan. Mr.Velasquez knew that it was not Juan’s fault and he threatened to send cristobal away if he did it again. But, he did it again and Mr.Velasquez did not do anything because Cristobal was a good drawer and painter and was much better than Alvaro. There was a request by the King for Diego Velasquez to paint a portrait of him.

He wanted to make the painting his own way. Picasso had his own point of view on las meninas by just painting the princess and the attendants. I think he decided to paint just the princess and attendants because he wanted to show the difference between the two. The princess is highly praised while the attendants don’t get noticed. The attendants are always longing in the princesses shadow, just like how in the painting the attendant is kneeling down to the princess, supposedly helping her get ready.I think Velazquez created such a work because he was trying to put his own life experiences into something. I think he was trying to express two different groups of people.In the painting there is the royal princess and her attendants. There is other people in the painting that people are less focused on. When you look at the painting there is people gathered around

In the realm of art, the portrait is one of the most intimate and relatable subject matters to the average human. In the past, the main purpose of the portrait was to capture the essence of the person that commissioned the work. The beauty of art is the fact that every artist views the world in a different light, which is reflected and understood when many works of the same subject are compared. No matter how hard one attempts to emulate someone else’s work, their own personal touch will innately shine through the piece. Many artists’ styles are so distinct that the viewer will instantly recognize their work, which is the same idea that great musical artists’ work can be identified within the first few seconds of a song. In order to develop a style that is exclusive to one person, they must first master the basic and essential aspects of the visual arts such as composition and the creation of still life pieces. Getting a solid understanding of the world and the skill of close observation is a step that mustn’t be skipped in the development of a personal style or look. Amedeo Modigliani’s portraits can be identified almost immediately, because of the distinctive features he incorporated into his subjects. His diligence in art school and his general desire to become a better artist were crucial aspects of him eventually finding and solidifying his iconic style.

13) (Sillevis, 2006, p. 70). Fernando Botero aims to transform his subjects into “still” life devoid of character and personality (SULLIVAN, 2000, p. 98). Instead, they are deformed and reshaped to express his artistic views. Fernando Botero’s inspiration for neutral, emotionless paintings comes from his admiration of ancient Egyptian statues and hieroglyphs that never seem to look at the observer and that “contemplate the void.” This feature is clearly pronounced in Fernando’s painting “Figure 4 - Una Familia (1989)” and multiple other portraits. His works also include inanimate objects such as oranges, tables and animal carcasses with the same concept of volume applied to them. (See Figures: “Figure 5 - Still Life with Coffee Pot (1977)Figure 6 - Still Life with Orangeade (1987)Figure 7 - Still Life with the Head of Pork

The first thing we are bound to notice when viewing Juan de Pareja is his face. The main object by which the light in the painting illuminates, it is also the most important part of the work. From afar, we can see pride and self-confidence in a man with an upright posture. But, as we take a second and closer look, the picture becomes much blurrier. Literally. The separation between light and color becomes much clearer, but the facial expression is harder to fully make out. We move away from pride and see a contained sadness with the facial features of Juan de Pareja. The bags underneath his eyes become clearer, the spark of light contained within his pupils are visible, his pressed lips start to appear as a frown. We may hurriedly pull away from such a graven image, when we see the full face in context. When viewing the juxtaposition of Juan de Pareja’s watery eyes and upright posture, a sort of bored suffering is

Not only have I seen Rivera’s painting but also another Mexican artist, for example; Jose Clemente Orozco and Frida Kahlo. I saw their paintings at the Museum of Art in San Diego. I cannot remember what pictures I have seen on that day last time I saw it. One of the things I realize is the way they represent their art. They express their past and their present, the rich culture of the Mexican history, the way they express their ideology and their political view of their time, and their surrealist dream in case of Frida Kahlo. One of the remarkable ways they express is by putting their expression on the wall also known as

This also shows his academic interests. He continues to share is ability to be artistic in this paragraph when he says, “I was an artist, always had been, and I would paint in their style, in reds, oranges, and rusts, on the rocks by the creek-geometric designs.” He reflects on his artistic ability and lonely despair when he states, “I lived in the worlds that I drew. ”(Paragraph 17) and again in paragraph 22: “I had painted a great Aztec pyramid under only black storm clouds, with nine masque-hideous faces upon it, one face for each tier. The lighting was angry and hellish and read, and an uneasy orange fire burned in each masque-face’s eyes.

The third of the paintings stemming from the Baroque period done by Velázquez is one of his many works for the court, setting the tone in the particular area, while not extending much further (49, Bazin). The court employing Velázquez was that of King Philip IV, with the focus of this painting being the king’s daughter. This particular piece has not only the artist himself depicted, the children of the court scattered about, but also a mirror in the back showing the King and Queen standing as the painter is depicted to be painting their portrait. Each point of attention draws way from the former, then pushing to the next in a cycle of focus. Once Velázquez started using almost strictly the style of portraits, he mastered the art using the available means to the fullest. The painting at hand in particular uses his mastery of portraiture to the fullest in varying who is being painted and their positions on the canvas (59-60, Bazin).

All the figures in the painting have different expressions on their faces. For example Mr. Columbus starrs dirrectly at the group of coucil men sitting infront of him to convince them of the new world he had discovered. He stands infront of the crowd, looking like a honorable man, with his chesting bulsging out and his right footing pointing forward. His left hand is holding a map, while the right firmly points at it. There is a concil man sitted next to where Christopher stands, looks down at the map to validate Mr. Columbus agruement. There are three figures standing on the left excluding the king and his guides. These men seem so suppresed by what Columbus is telling them, that one of them grab the other firmly on the shoulder to perheps ask him how all of it is possible. The king on the other hand opens his month wide in disbelieve and his hands lift up at about a 30 degree angle, as if he was attempting to stop Columbus from fabricating more lies. On the far right of the painting, there is a boy with what appears to be a map that he is showing two men on his right.; they both starr at it while the other lean forward with his hand placed under his chin. Human drama remains me of Giotto style in Italy 1400-1500. He was the first artists to incoporate human drama into his work by including little details of gustures and emotions. This very artist was great at expressing different types of emotions on the faces

The initial focus of the painting is Mary as a whole, or perhaps specifically her face and outstretched arms. El Greco, however, uses a Cartesian grid to relocate the focus to the geometric center of the canvas, a clearly intentional move necessary to create the basis of Mary’s upward motion. “Assumption” is strongly divided into four quadrants. The heavens, occupying the upper-half of the canvas, are divided in half vertically by Mary’s body, while the Earth is split by a clear part in the crowd that extends directly downward from that same line. The divine and mortal realms are separated fittingly by a line of clouds vertically centered on the canvas. The result is a crosshairs locked in on the area just below the Virgin’s feet—the area that will become the most important part of the canvas. The

Homer’s epic The Iliad, is a great tale of war and glory. It takes place during the last year of the ten year Greek-Trojan war. The Greeks have been fighting with the Trojans for quite some time, and just when peace seemed like a possibility, the youngest prince of Troy, Paris, acts out selfishly and steals the beautiful wife of Menelaus, Helen. This instigates the fighting again. Throughout The Iliad, Homer tells of two heroes, both similar, but also very different in their character; the great and powerful Greek, Achilles, and the strong, loving father, Prince Hector of Troy. In Homer’s The Iliad, Hector and Achilles differ as heroes in regards to pride, duty, and family love, the latter being self-centered and prideful, while the

Another interesting perspective captured in the painting is facial elevation and position. The meninas’ heads are at different elevations to that of Margarita. Their attention is towards Margarita yet their perspectives are different. María’s eye view is higher than Margarita’s eye view yet the painter makes it appear as if María’s eyes are looking up on Margarita. Moreover, Isabel’s elevation appears to pay homage to Margarita by her angle of inclination, eye direction and facial expression. .