Beardsley's Artistic Influences Of The Three Savoy

William H. Johnson was a successful painter who was born on March 18, 1901 in Florence, South Carolina. Johnson began exploring his level of creativity as a child, and it only amplified from there because he discovered that he wanted to be an artist. After making this discovery he attended the National Academy of Design in New York which is where he met his mentor Charles Webster Hawthorne who had a strong influential impact on Johnson. Once Johnson graduated he moved to Paris where he was exposed to different artists, various artistic abilities, and evolutionary creations. Throughout Johnson’s time in Paris he grew as an artist, and adapted a “folk” style where he used lively colors and flat figures. Johnson used the “folk” style to express the experience of most African-Americans during the years of the 1930s and 1940s.

Adopting an Approach has many strong arguments and claims throughout the manuscript. Particularly in the beginning, Beard does a great job of enticing the assumed college-level reader and relating to that specific audience. She does this when explaining, “understanding the images around us,” by talking about a French perfume advertisement. By doing this, she relates to the age group that would be reading this manuscript by combining something that they might be familiar with, to something they are unfamiliar with. Although this is initially a strong way to go about attracting the reader, it needs to be done at the right moments. On pages fourteen and fifteen, she gives many more unrelated examples, which ultimately, causes the reader to forget the original point trying to be made. Beard’s claim needed to be made quicker, before the reader loses sight of what the article is about. If this article were to be published in the Undergraduate’s Guide to Art History, I would eliminate a lot of the extra examples that aren’t necessary to get

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

In ‘The Marble Statue’ the author, Joseph Van Eichendorff demonstrates the use of song, and the symbolism of color and flowers to characterize beauty and emotion, mainly within the statue of Venus, but also throughout other characters in the novel. Throughout the story, these characteristics are what draw the main character, Florio, deeper into his infatuation with the Venus statue. However, the deeper meaning of the statue throughout the story leads to the conclusion that one’s dream fantasy is not always what one thinks it is.

In addition to this, belonging to a family is a key concept in this novel. The novel opens with an alluring introduction to the family; a blissful atmosphere is created through the picturesque icons of their family life. The composer uses small photograph like icons to allude towards the widely acknowledged contentment that is readily associated with the memories in a picture album. Tan introduces the motif of the paper crane which he carries through the length of his novel as a symbol of affection and belonging between the family members. The next pages signify the break in contentment as the man begins his journey and a salient image of the couple with their hands grasping the other’s parallels the anxiety and despair in their downcast facial expressions. Although the gloomy atmosphere, the light sepia tones in the picture allow an insight into the tender and loving relationship that the family members share. Upon the man’s departure the paper crane motif returns and he hands it to his daughter as a token of his undying love for her. His migratory experience is studded by the comfort and ease that he obtains from a picture of his family. In paralleled scenes on the boat and the new apartment, the

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

The author uses imagery in the poem to enable the reader to see what the speaker sees. For example, in lines 4-11 the speaker describes to us the

Their individual perspectives in life ultimately shaped their education, experiences and overall point of view. This essay will outline the similarities and differences in subject matter, tone and imagery of these two artists’ bodies of work.

Romare Bearden, started his artistic career being an abstractionist, however the civil right movement had an impact on his art which lead him to the creation of the group called spiral. With the help of other black artists, Bearden sought to reflect how they could portray their connection to the civil right movement through their arts as a racial group minority. Ralph Ellison (1977), mentions the anachronism of the American social experience of minority artists which could then be used to understand the motivation behind the art of Bearden. This anachronism refers to; “The imbalance in American society which leads to a distorted perception of social reality, to a stubborn blindness to the creative possibilities of cultural diversity, to the prevalence of negative myth, racial stereotypes and dangerous illusion about art, humanities and society.” (Ellison: 1977 : pp.673) It is then argued that many artists are often majorly influenced by the power of this anachronism, as their culture as well as the freedom of representing their self identity through aesthetic technique of self expression that are already existing. This, then restrict their attempt to seek change of the complex social situation they experience. Meanwhile, it is said that Bearden attempt not to follow the anachronism in is art by transforming it into a component of art as a mean of personal vision (Ellison:

Symbolisation is also used to counteract the miserable life of an Australian housewife. This can be seen in the line “She practises a fugue, though it can matter to no one now if she plays well or not, (stanza one, line one).” This line suggests that the woman portrayed is a musician. The poem latter reads, “Once she played for Rubinstein, who yawned,” (stanza one, line nine). This suggests she was talented enough to present to Rubenstein but didn’t succeed. “The children caper, round a sprung mousetrap where a mouse lies dead.” This line symbolizes the housewife. Her dreams of becoming a musician are trapped within her own environment. This same line can also evaluate the difficulties and harshness of the urban Australian life. Seeming sad this is something that is exciting to the children.

Images in the poem reflect the difficulties of the choice the traveler faces. The difficulty is shown in the passage "long I stood" (3)

In the third stanza, a lot of imagery is used. The significant ones are present in the seventh and eleventh lines. In the first line, the poet writes, "A

This imagery contributes to the idea that her time in Italy was perfect. The woman in the poem is making this story up. The falsity of the woman’s Italy experience is evident because she only wanted to tell her friends a “better story” than what actually happened. The woman is sharing what she believes is the “best of Italy” (15). If the experience had happened, the woman would have a vivid recollection, but her uncertainty is evident in the line “if he was ever there”(20).

In comparison to the Modern Artist Barnett Newman, Mark Grotjahn’s paintings have similar formal decisions to His predecessor. In Mark Grotjahn’s works, the outward appearance of his butterfly pieces might resemble similar formal concepts from Barnet Newman’s paintings. A likeness, present within Grotjahn and Newman’s paintings, is the vertical line bisecting the canvas. Which Barnett Newman coins this aesthetic a “zip”, or the use of a single vertical band .

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.