Art : The Influence Of Art

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.

Nudity has been an essential aspect in Western art. After the Renaissance, this is when the nudity was exploited as humans in their natural state. The nude form first was conquered by the ancient Greeks from approximately two thousand five hundred years ago. The Greeks celebrated the human body and cultivated the mastery of the human body through these sculptures of David. Rubens captures the nudity of Venus and makes her seen pure and compelling. When taking a glance at this masterpiece, one is immediately fixated and dragged in, it is a piece that cannot be missed. Ruben’s expression in this piece can be defined as timeless. Historians conclude that besides the magnificent Michelangelo, no other painter had a greater knowledge of the human body and visual power as Rubens. This is how he is able to cultivate these mythological pieces, and incorporate much detail. There is much life in Rubens’ painting, through the vibrant hues and how he depicts Venus and Adonis as these massive creatures. Figures depicted in art are more often nude then one would think. It is seen the human body is at its ideal state when artist depict the figure as nude. It is seemed as heroic because humans are compelled to see how artist illustrate the human body. Hence why the male and female body is the central theme of western art. When thinking about the human form, there is nothing more compelling, which is why the theme is still prominent in modern and contemporary

The reading claims that nudes throughout artistic history have been an important source of beauty and controversy. Nudes began to spike during the Baroque period as they were used for the more expressive and emotional arts of the time. In the nineteenth century, nudes became more common, yet became more sensitive. Artists would train by drawing nudes of ancient Greek statues and figures from myth. However, many artists would then move on to create works depicting prostitutes or peasant naked women. This would not please patrons as they were extremely societally taboo. However, this did not start artists from making them, as they moved into the twentieth and twenty-first century. This shows the importance of artistic nudes and their impact

As she defines the modern as a difference "cultivated in the practice of art" (21), in order to maker her point, her analysis of Olympia dwells upon the conflicts between the painting and the artistic conventions. She makes it clear that the incoherence occurs at two closely related levels, namely the level of technique and the level of subject matter (27). With regard to the former, it seems that Manet invokes the tradition of nude just so he can discard it. There is a "lack of compliance...with a tradition of painting of the nude, in which the nude female body was offered for contemplation in an idealized form", and such departure from the technical convention of art-making further enables the construction of conflicts at the narrative level (Fer, 24): Olympia exhibits sharp control over her own sexuality in an almost shameless way, yet the disgraceful defiance is diluted by the rich material embellishment, the classicized title and the allegorical poem. She is a classless prostitute (for any reference to class dissolves into the shadowy classical traditions invoked), but is a mysterious goddess at the same time. The disregard of artistic practice combined with the ambiguous iconography leads to a further level of incoherence of meaning or representation, which Fer seems to think, illustrates the "difference" that proclaims modern art as a new phenomenon in its own

Manet’s Olympia brought a different perspective to modern society that typically not shown in fine art. Looking at this piece, it generally looks like a nude figure painting; however, at the Paris Salon of 1865, it brought in controversy that revealed modern life in a lens not typically seen in fine art.

Art is not just a picture on a wall or in a museum, art comes in many forms. It can be a song you just heard, a video you watched, or a painting you saw in a gallery. Also, art can be just text. All forms of art grasp you in different ways and make your thoughts evolve to new distances. Art can bring you feelings you did not think you had. You can perceive the art in many ways and the creator wants it to influence you. I believe that yes, at can truly influence society and inform human behavior. While it may seem to some that pictures, songs, and videos influence you the most, it is actually true that books are the most influential and informative because they get in touch with your mind and emotions.

“Movement” is described as the changing of one’s location or advancing themselves into a time or place suited for themselves. The fine arts being one of the most prominent, or even yet, most suitable example of this phenomena. Sun King to among wild beasts, the variation of art and a synopsis will be presented on Italian and Spanish Baroque, “Natural” Art, Realism, Post-Impressionism, and Fauvism.

Known as one of the most controversial artists in his time, Edouard Manet had suffered rejection and endured a great deal of adversity for his unconventional style and his choice of subjects in his paintings, barely-dressed women. When Manet’s “Olympia” was revealed in 1865, it shocked critics for its subject, a nude woman. The question I ask in this instance is, why was this painting in-particular seen so controversial and shocking?, What makes this painting so different to others that have come before it?. There is a long tradition of female nude being represented in beautiful, erotic way, what makes this a stand out?

Is modern art affecting our American Economy, or any economy for that manner, in a terrible way? After all, these wealthy individuals are spending their hard earned bills, hundreds upon thousands upon millions of it in some piece of art that doesn’t make any sense to anyone but the maker. This could lead to a huge break, that these supposedly “grimey” buyers are making our economy go down the toilet, and it could be on them. Art in itself is a very inspiring investment, but the fact that these artists that spit out works that don’t put any effort or passion into it are making the green show more readily than more passionate artists. Modern art sales may be affecting our economy with their meaning leading to quick production, their odd “cult worship” making it understandable to those who purchase it, inflating their ego so to speak, and the types of sales types where the money goes and how it is made.

My parents always raised me to believe that the arts are how we understand ourselves and everyone around us. Growing up in Appalachia, other´s opinion about the arts greatly juxtaposed mine. When you live in a community where it is common to live below the poverty line, it’s hard for most people to care about anything that isn’t considered useful. The mindset of those living in Appalachia is almost always, as put by one mountain woman, “Livin’s more important than schoolin’” (Constance Elam, Culture, Poverty, and Education in Appalachian Kentucky). However, Appalachia is not the only place with this mindset. Afghanistan people also tend to believe that the arts are less important than other things. However, I believe that a change in mindset would be beneficial to the advancement of these communities. Further incorporating the arts into Afghani and Appalachian culture can mold the growth of these communities as well as reshape the negative stereotypes associated with them.

Art is an expression of free speech in a sense. However, some seek to influence and sensor an individual's artistic expression. Socrates believes that banning certain works of art from his ideal city is the best course of action for everyone. I will argue that Socrates is correct in his assessment that controlling the flow of art is for the betterment of society. By banning certain works of art, the souls of the young can be molded into an image that loves truth and honesty. Socrates says “ So our first task, it seems, is to supervise the storytellers: if they make up a good story, we must accept it; if not, we must reject it.” (Republic II, 377B). The objection is that such policies suppress the individuals right to autonomy, and to decide for themselves what is virtuous and what is not. Nonetheless, Socrates believes that restricting art is the best course of action.

What was interesting about this specific chapter was that normally the type of art is connected to the specific area where the art was created. Romanesque art however is not specifically connect to any one area. Although it was first noticed in Europe, this style of art was seen in many different places, using many different references, and techniques of past works, and cultures. When the trade routes were reopened in Europe the economy of the surrounding areas flourished, which helped the spread of art in general. This mixed with the turn of year one-thousand, during which the apocalypse did not happen helped the Christianity movement jump leaps and bounds across the continent. Within the Bible it is stated that one-thousand years after the death of Jesus christ he would return to judge the souls of the living and the dead. When that did not happen in the general population boomed and the overall spirituality of the Christian believers grew even larger. Thus began the social and spiritual tradition of the Pilgrimages.

Introduction Any discussion of the role of texts and art works in changing the status of art and artists, wherever the location, has no option but to place art in an historical, sociopolitical and cultural context. Art cannot be taken as an entity in and of itself, or be placed outside of the above frameworks. The scope of this discussion cannot feasibly include a thorough history of European art from the decline of the Roman Empire to the rise of the artist in Renaissance Italy and beyond the Alps. It will, however, attempt to condense certain points which will allow some historical context to lead it into an understanding of the roles of texts and works of art in changing the status of art and the artist. Many questions arise, not least

Art as a realm possesses an untamed power to document, address and question. It is a liberating force that extends beyond the socio-political norms of its time. The unconscious aim of art is progress, through the means of deconstructing what is said to be normal. Arguably, art is a product of its culture; although, once it is created it becomes the means by which to shape it. A great work of art is reactionary, especially within a Western environment. This view became widely spread with the rise of Modernism. A progressive approach towards the arts and their impact, started to evolve by the middle of the 19th century. During the 1871 Paris Commune, ‘subversive art’ became a recreation of the revolutionary politics of the time, driven by a group of embattled artist (Levenson. 2011. p. 12). ‘The political desire to transform society met the aesthetic desire to represent and to circulate the signs of transformation’ (Ibid. p. 13); this reveals the relationship of art with politics. This is due to the ability of art to speak a language that is not confined by any geographical borders and is by nature a liberated form of expression. Therefore, it can address and influence all those who are willing to witness and interpret.