Charles Pebworth This Way Please Analysis

One of the most commonly founded item in the museum were varies kind of basket. There were basket from 1800-20th century. They all came in different shape and size. One basket were from Chitimacha Native American culture found in Louisiana. These baskets are made from local river cane, which is a variety of bamboo. Chitimacha basket colors are red, black, yellow and the natural color of the cane. Another basket were from Lozi culture found at Zambia. This basket were produce from beautiful Makenge tree root. They were used for storing food or personal items. It even stated that basket weaving basket was a more favorable job for the women.

One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.

I earned critical praise for work that explored religious and classical themes. I was born in NY and was known for sculpting abolitionist leaders and civil war heros. In 1867 I moved to Rome and used the neoclassical style to voice my concerns about the revolution. My work over the next few decades moved between African-American themes influenced by Catholicism.

Faith Ringgold composed this piece by using oil paints on a 31 by 19 inch canvas. It is depicting the struggles that her community and herself were facing while trying to gain equal rights from the majority of white American culture. She uses line, shape, color, value and texture

Wohaw draws himself with color pencils in Between Worlds, standing in traditional garb, a loincloth made of two long strips of cloth that reach his ankles. He wears his hair long and holds out a tomahawk in boths hands holding off a buffalo and a bull. One of his feet stands on a miniaturized house and field while his other foot stands on miniaturized herd of buffalo. On that side of the page there stands a teepee --which is much larger than the house, reaching his to thigh in height. Above his drawn self who faces the bull he has written his name, above which he has drawn a stylized sun. In the left side of picture on the side of the buffalo is the moon and star. The bull and buffalo seem to be blowing at Wohaw and he seems to be holding them off. Though the picture is not drawn with much technical skill the meaning behind it is potent. Caught between cultures of a Plains tribe and the Euro-American dominating society. The picture seems to indicate that he identifies, or is being identified more strongly with his Native American heritage, yet both sides to be actively at odds. There is no indication of peace to be for between the two. Euro-Americans were invasive and made decisions for Native American peoples without their consent, this reflects in Native American art.

Prior to my research on Winslow Homer, I had no knowledge of who he was as an artist. After reading about Homer and his life, I learned that he was one of the greatest American painters of the 19th century and had a big impact on the art world. I chose to do my paper on Winslow Homer because I saw a few of his paintings of boats floating in the ocean and was blown away by the strokes he produced. I expected him to be a rural European artist that mainly did landscapes, and while there is some truth behind my assumption, I learned a lot about him that I didn’t expect.

At that school, he found the love of being a lawyer at 21. At first he want to be a farmer, and then he wanted to

I learned that it is okay to try new places you’ve never heard of. I learned a lot of information about upcoming art events that will be held at this art gallery. I learned about the white marble that is a natural resource in two places in the world, one being here in Sylacauga, AL. I learned that a very famous French artist has donated some of his white marble sculpture art to this museum and some of his thoughts on the marble that comes from Alabama. I learned that you don’t have to be a well-known artist producing quality art in order to produce an amazing piece of art. I learned that I really enjoy looking at art more than I thought I

The “Native American Masterpieces from the Charles and Valerie Diker Collection” exhibition is a selection of extraordinary Native American works of art that is drawn entirely from the New York’s Charles and Valerie Diker Collection. The collection celebrates the Native North American legacy and the artist’s attainments from culturally diverse indigenous civilizations across the North American region.

As I explored the James T. Bialac Native American Art Collection at the Fred Jones Jr. Museum of Art, I came across two paintings that really stood out to me because of their relevance to what we have been learning in class. In muted tones of blue and yellow, Harry Oosahwee’s (Cherokee) One Fall Morning depicts a Cherokee family in a barren rural landscape; animals and plants dot the landscape, and a small wooden house sits on the far right of the painting accompanied by a father, mother, and child to the left.

The First painting that I was drawn to in the special exhibit “America after the fall: Painting in the 1930s”, was American Gothic by Grant Wood. This was a work that I had seen all through out my life because it was the staple image to represent the steadfast American pioneer spirit. Seeing it in person, rather than reproductions or prints let me realize why it was such an iconic American painting. It was a twentieth century painting with nineteenth century characteristics. The work is in the style of a typical portrait painting in the nineteenth century.

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.

His use of a cowboy and a group of American Indians in the painting, despite his aboriginal heritage, could be because of his desire to compare the parallels between the two, and propose the idea that both Aboriginal and American Indians were seen as the ‘bad guys’ despite it being obvious that they were the marginalised

My experience to the Dallas Museum of Art was a bit different from the last time I had attended the museum. I was curious to see what pieces of art there would be and if it would be the same as the previous visit which was long ago, but to me all the pieces of art were so different and very interesting. It may have been because I saw all the pieces in a new perspective since learning about the different types of paintings there can be and knowing how and where sculptures come from. Even though I do not know much of art I really gave it a try into seeing what the artist may have wanted us to get out of his work. By reading a view of the chapters made me aware of art, I wouldn’t call myself an expert, but it was actually nice knowing that a

He began working as a photographer at Interview magazine, an experience that he refers to as "art school".