Art Exhibition Review: Valerie Andrianoff Essay

This sculpture was one of Mene’s most famous pieces of art work. This sculpture was first put out for viewers to see in the Paris Salon in 1952. The public went nuts over this sculpture, later this sculpture was made in three different sizes. The sculpture in my presentation is the smallest one made and is considered a miniature. In this sculpture both horses are stallions, whereas in the original sculpture it showed a mare and a stallion. Still to this day this piece of artwork is very popular in demand.

Then there is a sculpture called ‘Kouros/statue of Standing Youth’ which represents the meant back in the day and age. The sculpture is a very young, athletic, toned man. This man has the body every man wants. This sculpture is desirable to every women. This man represents power, and desire. Unlike the sculpture of the woman this man has a face and a very powerful looking

Standing in front of this sculpture, the viewer can feel the wind whipping around them and the sea spraying you in the face. The energy and motion add to the dramatic effect that immediately draws the viewer in. This dramatic effect is created by the lines of the figure. Nike’s elongated wings catch your eye and create a lengthy transverse line which adds to the drama. The drapery that clothes the figure has the same

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

The article also acknowledges how the sculpture is a unique find in art especially in terms of how well the sculpture has been preserved and how the damage to the sculpture were minimal as compared to other similar discovered Venus sculptures. Arenas acknowledges how there are also numerous interpretations and explanations on how the arms of the Venus de Milo actually look like or what they are actually doing. The article also presents sultrier take on Venus de Milo, seeing her in all her seductive glory. Through the eyes of Arenas, there is more human, yet otherworldly perspective of Venus de Milo, one which matches romanticized women in mythology. Arenas also envisions the sculpture in relation to feminine charm and how it and the sculpture represents a severed phallus come to life. This represents social and carnal anxiety as well as longing, potency and also impotence.

The purpose of this essay is to evaluate two art pieces that were created by two tremendously gifted individuals during the Baroque to the contemporary period. Masters of their movements, both sculptors were able to create masterpieces that revealed an unfolding event that could be read by their viewers from all sides.

A bronze sculpture consisting of just six rectangular shapes and a semi-rectangular base, this piece is very simple, and its minimalistic structure is similar to that of Malevich’s Supremacist Composition: Airplane Flying. From a certain angle, the sculpture resembles a figure stumbling and falling over the base, depicting some sort of motion. In this sense, it is similar to Boccioni’s Unique Forms of Continuity in Space, which sought to use air currents to symbolize a moving figure. The simplistic yet abstract nature of Shapiro’s work makes it feel right as home in the Modernist Revolution, despite the fact that Shapiro’s sculpture was made in 1991, more than 70 years after the Modernist Revolution occurred. In addition, Untitled is unlike any other “figure” sculpture we have studied thus far. Just about every major sculpture we have covered resembles some form of a human-like body, whether they be an actual human or a divine figure. Even Unique Forms of Continuity in Space possesses what appear to be legs, a head and a torso. The odd and minimalistic composition of Untitled means that is possesses no definite form resembling a human and could very well be meant to resemble something completely unrelated to human, quite possibly an inanimate object or even something that was not meant to be resembled. It is the only work of its kind present at the sculpture garden, and as such, it carries far more mystery than any other work

Built in 1989, this sculpture is a fine piece of art, as it commemorates the hundreds of thousands of immigrants who travelled across the southwestern border from Mexico into the United States looking for a new start and a life of higher quality post World War II. This single sculpture is of a man crossing the border while carrying a woman on his shoulders. Something that cannot be caught in the first glimpse, but has to be deeply looked into is that fact that the woman is bearing a crying infant in her arms, sheltering the child from harm, which relates to the situation.

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

The sculptures “Apollo and Daphne” and “Two Women” share elements and principles with one another, such as shape, size and texture. Bernini’s work is a life size piece that complements the figure of the two characters. The facial expressions, hands, feet and hair of “Apollo and Daphne” are in reasonable detail; however there are no lines on the bodies to create depth and texture. On the other hand, Mueck challenge’s the viewer by changing the scale of his work, with “Two Women” minute and in incredible proportion with the features and figure of the women.

At first, this work of art made me feel happy and slightly mischievous. Then I learned that Amalia Pica lived under a dictator in Argentina; this changed the way I saw the sculpture. I believe that the piece is meant to symbolize that there is always someone listening, even if you are unaware. This give me an eerie feeling

Mattingly transformed personal belongings into sculptural forms that she later incorporates into photographs and performative actions. The sculpture is being pulled on the side walk by a woman who is facing down towards the sphere, while the people in the background is facing away from her, could suggest a lack of interest in her possessions being tugged across the floor, her face expression is relaxed yet her body expression shows she is struggling to move the sculpture. Mattingly is trying to show another path to having an ecologically sustainable future. She believes that humanity will survive only if we reduce our footprint on Earth. determined to live with just the essentials, she recording every object she owns and looking back as to why she had the objects from the beginning. Mattingly work is trying to show one’s obsession of a good life. How we exclude the human’s dependency. Showing that we had a responsibility that we don’t think highly of. we do not know that something is wrong until it had been

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the