Analysis Of The Hay Wain By John Constable

Accordingly, the nature was one of the Romantic themes adored by numerous readers during this era. The author’s description of untamed environment and striking sight inspires and impresses the readers. Soothing and relaxing people through these illustrations, author takes them away from the impersonal society. For example, The Most Sublime Spectacle on Earth by John Wesley Powell vividly displays the spectacular views of Grand Canyon to make readers forget the depraved reality. “The carving of the Grand Canyon is the work of rains and rivers,” Powell stresses that Grand Canyon is the splendid work of nature, not the artificial work of

Jane’s goal is clearly much higher than reproducing other’s works. She sees herself acquiring the skills of a professional artist. Jane

Cole has no restrain in describing the beauty of all the elements found in the American scenery. He talks about the mountains, the sky, the streams, the sunset, waterfalls, all of which are overflowing in richness, full of magnificence, and unsurpassed by any other. For Cole the scenery and nature are subjects which must be present in the souls of every American. While he considers himself and even others underserving of “such a birthright”, he is thankful for the beauties given to us by nature. Cole suggests to his audience that the reason behind him painting natural scenes relates to the experiencing of a particular emotional response while doing so. This is a response which can only be compared to a “calm religious tone”, full of “tranquility and peace.” Witnessing the beauties of the American scenery, anywhere one goes, makes one realize how “the sublime and beautiful are bound together in an indissoluble chain. In gazing on it we feel as though a great void had been filled in our minds.” Cole places great emphasis on the importance for all members of society to learn how to cultivate “a taste for scenery.” This can be achieved by appreciating the physical beauty of nature and the ability of said beauty to provide mankind with a different perspective about life and with

Classical landscape by Charles Sheeler is an exterior oil on canvas of the Estate of Mrs. Edsel B. Ford, Grosse Pointe Farms (figure 1) filled with deep, hidden irony. It was painted in 1931, and is based on a watercolor study. It’s a calm, clean, and serene painting that takes your breath away. It’s depicting a place someone would want to be in, a place where things get done, and a place where one can go to achieve this idea of the American dream. Charles Sheeler used American industry as a major theme of his art, his work “lends itself to an analysis in terms of geometric forms” he examines his subject matter so closely in order to fully understand the composition, the effect, and the design he wants to depict. Sheeler painted the plant’s exterior as an idyll, a beautiful, picturesque scene of the industrial age booming; however, in reality the United States was in the middle of the worst years of the Great Depression. Therefore, this painting done in Sheeler’s hyper-realistic artistic style is not actually depicting what the factory actually looked like.

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

Two of the paintings I came across, Ludolf Backhuysen, Ships in a Stormy Sea off a Coast, and Philips Wouwerman, Stag Hunt in a River were very similar in many ways. First of all, they were both European art, they are both 200 plus years old, and they both show very hectic times. The first painting, Ships in a Stormy Sea, displays several ships, (although it is hard to see the other 4), being almost entirely swallowed by an angry, wavy ocean, during an extremely stormy journey. All of the ships are at different levels and some are leaned over, and tipped more than others, allowing the viewer to realize the true horror occurring in this painting. The amount of line that this artist uses in this painting is tremendous as well, as he presents plenty of diagonal lines throughout the painting, such as on all of the ships sails. This piece of art is extremely realistic and gives me chills when I imagine what these sailors must have been dealing with that night. Not only does this painting show a hectic time, but another painting titled, Stag Hunt in a River. This painting displays a village, in the mountains, lying on a river, where hunters, horses, and dogs of the village are attacking a deer that is attempting to escape from them. This painting seems to describe a very hectic time for everyone, as the dogs are desperately trying to do their job, the deer is attempting to escape, and the hunters are relying on the deer for their food. Although there are many obvious differences in these two paintings, the roles are reversed in the two, as in Ships in a Stormy Sea, nature is doing the damage, while the people are trying to avoid danger. On the other hand, Stag Hunt in a River, displays nature being attacked and endangered by the people themselves. My favorite

Oil on canvas, presented by Sir Colin and Lad Anderson through the Friends of the Tate Gallery, 1976

Daniel Ridgway Knight was an odd American artist who loved to paint relaxed French peasants in luscious landscapes. Ironically, he lived during a stressful time when the Industrial Revolution displaced numerous farmers and polluted the environment. He seemed to ignore the harsh truth and shut himself in his imaginary serene world. For instance, In the Premier Chagrin, translated as The First Grief, Knight paints two healthy girls conversing on a stone wall in front of gorgeous fields. At first, it appears as merely a pretty painting that is nicely contrasted to show depth and realism. Yet, with a closer look, this contrast in the colors and lines of the landscape and the figures creates tension to suggest the painter’s conflict between longing for serene freedom and feeling trapped within the stiff society.

Throughout history, societies have defined and transformed themselves through their art. When looking at works of art today, a person sees not only the work of art itself, but also the world from which it came from. The same is true for this transformation mask, which reflects the works of art and beliefs of the Northwest Coast Tribes.

Distinctively visual is not just about images but also the power of language that enables composers to transport us to their world, specifically to the place indicative of the time during which the text was written. Henry Lawson’s collection of short stories in particular ‘In a dry season’ and ‘The drover’s wife’ and my related text, Art Spigelman’s graphic novel ‘Maus’ bring their unique ideas to life shaping and challenging our perspective and understanding of various human experiences of pain, suffering ,courage, resilience and perseverance ultimately bringing personal and social issues to life.

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

Australia has a prolonged tradition in portraying and illustrating the complex and breathtaking landscape which surrounds it. The landscape representation has been extrapolated along time in different backings as painting, literature or cinema and embodies the post-colonial performances. According to the Tweed River Art Gallery (2009), Macleod is influenced and astonished by the greatness and sharpness of the Australian landmass and this is what he intends to represent in his pieces. His sources of inspiration embrace such impressive dissimilar environments as New Zealand, the central Australian desert, and Antarctica. Euan Macleod’s work suggests an utopic world where the countryside is prosperous and wealthy and the human manifestation is

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

Intrinsically intriguing as the artworks and themes are for many viewers, what lies with greater uniqueness is the visual context of art, as emphasized by Helena. Artworks, despite the era or time period, are always initially distinguished based on the surface; for example, what’s present and what’s going on. As I tour the Grohmann Museum with Helena, I was taught to look at the furthest distance in the portrait rather than the surface.

Art is all around us. There are many different forms of art. It can be something created, captured, or it can be already existent. Not a single person is to say what makes something art because there is a different definition for everyone. However, there are a couple factors that come into mind whenever someone decides to declare something as art. In this essay I will be comparing and contrasting four different pieces of art. I will be discussing each art piece’s form, time period of creation, intention or purpose, and value. These four pieces of art are Michelangelo’s Pieta, Fountain by Marcel Duchamp, Mark Rothko’s No.61, and the “Oyster Dress” by Alexander McQueen. These works of art come in all different shapes and sizes but they are valued