Andy Warhol Interpretation

In Andy Warhol we see a sense of shame, but also acceptance and contentment by the light clasp of his hands, and the slight straining of his shoulders. His eyes are closed, which could either be out of fear of being seen, or a sense of peace at finally being seen. His lips are delicately pursed, which, again, shows that he could either be fighting the urge to cower and hide, or his own frustration with this desire, and his determination to continue. In addition to these many subtle expressions of emotion, we know that the actual man was known for his cool and confident attitude, which tells us just how much of a big deal his utter vulnerability truly is. Neel has stripped all outside masks, and has unearthed the frightened, old man beneath Warhol’s suave persona. Conversely, we see nothing but aloofness and an impassioned gaze within Schiele’s Self-Portrait with Chinese Lantern. Schiele has drawn himself looking at the viewer with his chin held up and his shoulders tilted back, an aura of complete confidence and self-importance all but oozing out of him. His face seems to ask, “Is that all that you’ve got?”. The placement of his arms belies his face though, for they’re tightly bound around his front, near his waist, showing that he may not be as self-assured as he

Warhol wanted to capture the moments of protesters being attacked by police force to draw the issue to the public’s attention. He wanted his art piece to preserve a portion of these black protesters lives; what exactly they went through to receive the equality they now have today.

There have been different art forms that have come and go over the course of time. Hence I will discuss, two significant movements like Post-impressionism and Pop art. Two important artists from these movements are, Vincent Van Gogh and Andy Warhol. There are many differences and very few similarities between these two movements and artists, although more differences. Van Gogh is one of the most captivating artists of post-impressionism. . Throughout his career Van Gogh has painted many works. One of those magnificent paintings is “Starry Night” by Vincent Van Gogh. In the other hand we will discuss one of the popular paintings “ Gold Marilyn” by Andy Warhol. Warhol is also the most famous of the Pop Artists and played a major role in making the art movement popular.

When we eat a slice of pizza we tend to wash it down with a bottle of Coke when we 're feeling sick we tend to have some Campbell 's chicken noodle soup when we think of rock 'n ' roll the name Elvis Presley comes to mind and for America 's sweetheart and movie actress there is none other than Marilyn Monroe. These for iconic objects and figures all have one thing in common they have stood the test of time and continue to be a part of American culture. Today I 'm going to talk about one man who took these ideas and started a new movement in the early 1960s it movement coined pop art where everyday recognizable images that have stood the test of time and continue to influence and be a part of American culture. This man goes by the name of Andy Warhol.

When the narrator first invites Rockwell to his studio to examine his paintings, Rockwell’s unconventionality is illustrated through his dissimilar beliefs and values from the narrator. The narrator’s exceptionally well-organized, detailed personality is illustrated when he “poured three fingers in the glass, handed it to Rockwell, and another three fingers for [himself].” This action indicates his seemingly calm behaviour and efficient, conventional lifestyle that he currently maintains in order to forget about his past. His supposedly calm, composed behaviour is also demonstrated through his actions of painting where he would “leave [the paintings] like this for the month or so preceding a show” so that he could later on add other details later on. The narrator’s calm, well-organized behaviour illustrates the façade he puts on in order to assimilate into reality. However, even though the narrator appears to accept the reality he is currently living, he actually lives in an ulterior universe where he constantly indulges into his own paintings in order to maintain his despairing, unfortunate past.

According to the McGraw-Hill Dictionary of American Idioms and Phrasal Verbs, the phrase “a picture is worth a thousand words” means pictures convey information more efficiently and effectively than words do. Many people believe this to be true because pictures display concrete evidence of events that happen, they are able to “see it to believe it.” They believe that since they can see it with their own eyes, everything in the photograph must be telling the true story. On the contrary, pictures can be just as biased as textual sources of information and the photographer may not be providing the viewer with the whole story. Knowing this fact, Oliver Wendell Holmes describes this phenomenon in the following way, “The photograph is an illusion

Photos are just recorded information and how it is presented is actually based on individual interpretation by the photographers themselves. It is not absolute reality because the viewers themselves are not there to witness the event; therefore it is not entirely factual. The meaning of a photo illustration is also dependent on viewers' individual views and assumption. As the old metaphor says, "is the glass of milk half full or half empty?"

In Chapter 8 of After the Fact in the article, “The Mirror with a Memory” by James West Davidson and Mark Lytle, the authors tell the story of photography and of a man names Jacob Riis. Riis came from Scandinavia as a young man and moved to the United States. Riis firsthand experienced the bad conditions in the heart of the slums of New York. He worked from place to place, doing odd jobs until he found a job as a police reporter for the New York Tribune. Riis lived in a slum called “The Bend.” When he became a reporter, Riis aspired to make people see the awful conditions of “The Bend.” Riis was continuously disappointed because his articles did not receive much attention or sympathy he was looking for. He then vowed to write a book called

For the second art encounter I visited the Museum of Art at BYU and viewed the Andy Warhol and Pablo Picasso print exhibit.There were several other modernist artist on display in the exhibit, such as Lichtenstein and Kalloeitz, however Warhol and Picasso were the artist that are most talked about in this course. Both of these artist are considered to be modernist, however their works look very different. Andy Warhol’s iconic Marilyn Monroe print was on display showing the industrial, pop side of modernist art. Warhol’s art imitates the negative social norms of the time. His lowd use of neon color and choice of subject add to the growing popularity of veneration of celebrities. He also was one of the first artist to mass produce his art, adding

When studying artists, styles of art and their respective time period, it is always important to find a few key artists that were responsible for the rise of new art trends. Traditionally, art has often a reflection of the most important elements within its respective time period, such as wars, religions, royalty, culture and expression. This is why the study of art history is needs to look deeper than simply understanding how certain artworks were created. Among the various artists studied in the course, Andy Warhol is definitely one of the most influential. Far ahead of his time in thinking and talented in several media forms, Warhol was a product of his time and defined his era with the use of his artwork, giving rise to other artists within the same time period. This paper will argue that Warhol was not only an influence to modern art, he defined the concept of "pop art", which combined consumerism and pop culture, creating works that questioned the norm of society at the time, while providing a strong influence to future artists. Warhol was hugely successful in his artistic efforts and several of his staple works will be discussed in regards to its significance and representation of its respective period of time, as well as Warhol’s influence on the history of art.

In Andy Warhol’s time he was seen as very commercial and not truly a defined artist. Warhol was very popular to average society but never quite Throughout his whole life he has had struggles with Sydenham’s chorea, terrible shyness, and lastly making artwork acceptable to other artists. And as we get farther from his time we see how much value and meaning there was in his work.

One of the most significant decades in 20th-century art, the 1960s saw the rise of Pop Art, Op Art, Minimalism, Conceptual Art, Performance Art, and Feminist Art, among countless other styles and movements. Artists began to notice that American culture was filled with commercial images: on television and billboards, and in magazines and newspapers, commercial art was used to sell everything from dish scrubbers to soup cans to cars to movie stars and their movies. Pop artists used commercial art techniques to create new artistic forms.

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

It creates an illogical connection between ‘here-now’ and the ‘there-then’. As the photograph is a means of recording a moment, it always contains ‘stupefying evidence of this is how it was’. In this way, the denoted image can naturalise the connoted image as photographs retain a ‘kind of natural being there of objects’; that is, the quality of having recorded a moment in time. Barthes stresses that as technology continues to “develop the diffusion of information (and notably of images), the more it provides the means of masking the constructed meaning under the appearance of the given meaning’ (P159-60).

In Roger Scruton's Photography and Representation the author establishes the idea that ideal photography is not art. In the same breath he says that ideal photography is not necessarily an idea which photographers should strive, nor does it necessarily exist. Yet, he bases his argument upon the ideal. In reviewing his paper, I’ll take a look at why he painstakingly tries to make this distinction between ideal painting and ideal photography. His argument is based upon the proposition that photographs can only represent in a causal fashion, whereas painters create representational artwork via intentional relations. Scruton manages to create a solid argument, but in the end I’ll decide it is not a fair assumption to say that photographs