Paul Gaugin Day Of The God

“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth.

Romare Bearden’s art exhibition “Vision and Activism” portrayed his perception of society and the need to put in motion social change. The Black History Museum is where I observed his art collection. The set up of the pieces were by category and was not congested because there was a moderate amount of space between each piece. For first impressions the two art pieces titled “Noah and the Seventh Day (Prevalence of ritual series)” and “The Family” is highly detailed and the use of tone exhibits dramatic traits in the first piece while the second piece has tranquility. The subject matter for “Noah and the Seventh Day” is culture and for “The Family” is a focus on African American lifestyle. Intently scrutinizing “Noah and The Seventh Day” the setting is outside among the sea and animals are on a boat. The color is subtle, slightly vibrant, and uses cool tertiary colors. The texture has a grainy and hard effect as if he stippled using a paint brush. The shapes are organic but the water had strong emphasis where the lines gradually got deeper and broader away from the horizon. On the contrary, “The Family” setting took place inside of a house with women gathered at the table preparing food. The colors are subtle, earthy, and include warm tertiary colors. The background texture has a fine and smooth appearance. He included recognizable shapes such as cylinders, rectangles, and squares. By Bearden applying cross contour, pointillism, and cross

In the painting the dark, strong brush strokes and chaos she will believe, she "will praise your madness". It is the hard work ethic as a result of their faith that is portrayed by their heavy clothes floating on a canoe, that they labor all day. If not they certainly have a long road home that forces them to believe faith is the only thing left. Their lives lead them to be crazy, but faith keeps them safe. The flat calm of the lake can represent the slow days while in a split-second the weather can change, and the tranquil, peaceful, inviting lake can turn into your worst nightmare.

Author, Reginald Bibby, has written three books to date, this will be the fourth and latest work published. From having seen Canada’s religious developments through a secular lens, several scholars thought for the most part reasons behind the decline were clear and obvious. This is not the case, and is what the author tries to show here. After one prominent scholar named Stark opened up new data to the author it gave him his new books idea: reality of religious polarization. Now everything is more clear and focused through this polarization lens. The book is then divided up into 9 chapters, all very informative, focusing on all aspects to those who are religious, aren’t religious, good news and bad news.

I really enjoy the bold lines and bright colors in this piece. It appears very balanced while taking up the entire canvas. The figures in the painting are bulky and well defined. If you look at the painting, at every aspect of it, you can imagine the story Diego was trying to tell. In my mind, the priest is carrying the white calla lilies representing the Savior’s light. The bundles of red flowers laying all around may be representative of bloodshed or simply the hardships of the people. The light is coming to save them all. The three kneeling girls in the front are imploring aid from the Savior. The bright colors are used to counter the times where everything was bleak for them.

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

1) Discuss why people can respond differently to the same artwork. People can respond differently to artwork by making the art come alive by letting the art engage your attention, your imagination and your intelligence. With these three items mentioned can look at artwork differently, so if you look at a piece of art with the lack of attention and the next person gives the artwork their full attention that person could possibly view more in depth and see more detail than the person who pays less attention to the piece of art. 2) More than one theme might be applied to a work of art. Pick a work of art from Chapter 3 and describe how two different themes might be applied to it.

Directly above his head, yet still connected to his head is a semi-circle of an image of a woman holding a baby. It appears that the image is a memory, perhaps of his mother holding himself or his wife holding their child. The man is surely a representation of the artist and this is “his life”. He seems to be the focus of the painting and the overall theme appears to be memories layered throughout. Right above the original semi-circle is another semi-circle of four small, colorful squares. Each square is red, yellow, and blue in color reminding me of the artists’ Hispanic origins. Moving inward from the darker, gray and white outer portion of the painting seems to be a bookcase with three separate images. Each image is of a man painting on a canvas. These three separate images of a man painting throughout the artwork could be the artists’ memories of his father, or a significant man in his life. The grays, blacks, and white used show the artists’ darker memories, while the vibrant, beautiful colors symbolize the joyous ones. Similarly, the softer, warmer colors that the artist uses represent his love, appreciation, and admiration towards his father. Overall, the painting is a memory timeline that

As the human shaped music notes swim out of the blue water, only a couple of these people have clothes on. Additionally, some of the human shaped music notes walk on the beach accompanies by one another, while others are single; still, all of the people seem to be walking joyfully, lively, and happy. Even though the never ending ocean, created with an assortment of blues, cerulean, cobalt, and white, has a large crashing wave, the water exudes a calm and tranquil feeling. Nonetheless, the most fascinating feature of Jim Warren’s painting is the graceful hand holding a distorted brush, which was created by the crashing wave nearly hitting the beach. Though at first sight the painting is enigmatic and mysterious, it is actually graceful and effortlessly natural. God is an Artist illustrates Gods eternal self-existence, and is a reminder that everything on earth is linked to one another. All things on earth started from God’s hand, and he will forever watch over his

There are two particular paintings currently on display at The Museum of the Fine Arts, Houston that are so similar in appearance and content, but their intentions and purposes differ dramatically. These two paintings, both relating to the virgin and the child, are the Master of the Straus Madonna’s Virgin and Child (Museum of Fine Arts, Houston), dated c. 1395-1400, and created much later, Antoniazzo Romano’s Virgin and Child with Donor (Museum of Fine Arts, Houston), dated c. 1430-1512. Within a hundred years, these two artists, as well as many others, developed pieces of grandeur that have been the subject of speculation and analyzation to this day. Why? Because of their nuances that make them traditional in their own isolated ways. Whether

The Paintings A Sunday Afternoon on the Island of La Grande Jatte and The scream have several similarities and difference between them, but one difference that can be easily seen is the painting techniques. A Sunday Afternoon on the Island of La Grande Jatte is made of oil paint on canvas and its dimensions are of 6’91/2’’ by 10’11/4’’. The artist of A Sunday Afternoon on the Island of La Grande Jatte uses the technique of “Divisionism” or “Pointillism”. The artist uses small multidirectional strokes of colors in his painting

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the