Compare And Contrast Two Works Of Art

My artwork was inspired by Pablo Picasso---- Head of A Woman. It was painted in 1960 by oil. This artwork is a woman’s head, but there are two parts on her face. One is the side view and one is the front view, which is the style of Picasso. Likewise, I cube my face in two part and the opposite side of my shoulder. In my view, that is the way Picasso used to show 3D of his work, by painting different sides of one object and put them in one piece. I used blocks of solid color in the background, line drawing, and sharp boundaries. In contrast. I focus a lot on details. In ancient Chinese art’s, there are some elements that make me thought with Pablo Picasso. When people are painting, they would like to paint bigger on the object

The New Acropolis Museum was inaugurated in the year 2009, near the base of the Acropolis with a view of the Parthenon. The museum was a facility of around 226,000 square feet of glass and concrete, which cost $200 million dollars. The design was introduced in 2001, so it could be completed in time for the Olympics in 2004. This goal was unsuccessful due to legal battles that delayed the construction process for years said The New York Times. Since the museum opened it is running strong with an average of 5 million visitors per year, coming to see all the different collections. The museum is broken into three floors, offering different historical artwork. The first floor is divided into two sections, one from the archaic period and the other from Propylaia with objects that date around the classical time period to antiquity. On the first floor the visitors are greeted by magnificent sculptures of the first temples on the Acropolis. Displayed here also are votive offerings from worshippers. Some of these offerings include the archaic Korai, the Hippeis, statues of Athena the goddess, Sculptures of male figures, marble reliefs, and smaller bronze and clay offerings. The Acropolis Museum wants to conduct research on this small collection of archaic statues, which keep their color. In figure #1 I present the archaic Korai, which is white skinned and expresses grace- radiance youth. As opposed to the brown skinned warriors and athletes who are a sign of virtue. Then as we

The dying trumpeter marble statue is a huge feat when it comes to Greek development in male form. This statue is seen lying down on his leg, “who collapses upon his large oval shield as blood pours from the gash in his chest” (Kleiner, F. 2014, 155). This statue’s posture is realistic in the way he is turned and also in the way is arms and legs are laying. His right arm is hold him upright, while his left arm is on his right leg. His upper body is turned in order for him to place his hand on his left leg. There are lines in his stomach, where a human would have if they were sitting down and turned. There is also lines and ridges in his feet, showing that he has joints in his toes. This statue portrays the correct human anatomy by having a rounded

After looking at the vast antique collection found in the Sir John Soanes’s Museum, London, I was able to identify with 2 objects that I felt had the most interest to me. Found in the Colonnade and Dome room, I will compare and contrast the statue of Apollo Belvedere, a Greek god originally made from bronze and discovered in Rome in the late 15th century. The second is a statue of the Ephesian Diana, an Egyptian sculpture derived of marble. There are a number of statues replicating the pagan goddess, Artemis from Ephesus and can be found dating back to the first and second centuries AD. The one depicted above from the Soane museum dates back to 2nd century AD, and the head turreted crown indicates this.

During the Renaissance period of history, religious icons were a popular theme. Often churches and other religious organizations would pay artists to recreate famous scenes from the Bible which could then be hung in private homes are in churches and cathedrals. Many paintings were done on the very walls of the church, painted into the plaster in a style known as fresco. Religious paintings were also frequently purchased for the home by wealthy patrons. Each artistic work was used to tell a different story and presented in a way which would reflect the ideas and opinions of the church and the surrounding community. Two paintings from the period, the Mèrode Altarpiece by Campin and the Holy Trinity by Masaccio, are both religious works which have a similar purpose, and can be compared by their specific time period and content, the artist who created the pieces and their intentions, and the techniques which were used in creating it.

This meant careful observation of the model, as well as understanding the mechanics of the human body and, how a body adjusts to a pose which isn’t frontal but with the weight shifted to a side of the body, and how said body behaves in violent motion. The successors, mainly athlete figures, are shown regularly 'at ease', with one leg relaxed, with a shift in the shoulders, and the contrasts of rigid and relaxed in parts of the body. As a result, the sculptors of the era created marvelous statues of Gods such as Zeus, Athena, Poseidon, and many more. The Statues weren’t all Gods; in fact, some statues were of youths standing in ways that depicted them attempting to grab objects and others simply raising their hands in

“The greatest artist has no conception which a single block of marble does not potentially contain within its mass, but only a hand obedient to the mind can penetrate to this image.”

These three famous paintings are going to be analyzed below, pointing their similarities and differences. Henri Matisse was mostly known for his work during the Fauvism movement, Pablo Picasso excelled during the Cubism movement and Paul Cezanne showed his talents through the Post-Impressionism movement. Discussion Matisse’s painting shows a broad open field focusing on the bright landscape with a lot of nature and the expression of sensuality and eroticism. The bodies in this painting are seemed graceful and curvy.

On the other hand, the Kritios Boy Statue from century 480 B.C. is much more organic with a more fluid body stance. Never before had a sculptor been concerned with depicting how a human being, as opposed to a stone image, actually stands. Real people do not stand in the stiff form of the kouroi and korai. Humans shift their weight and the region of the main body parts around the vertical but flexible axis of the spine. The muscular and skeletal structures are depicted with freely lifelike accuracy, with the rib cage naturally expanded as if in the act of breathing, with a collected and calm demeanor and hips, which are distinctly narrower. The artist of this image was the first to grasp this fact and represent it in statuary. The head also turns slightly to the right and tilts,

There are subtle stylistic differences that occur in the Piombino Apollo that make it more advanced than the archaic kouros, which lead many scholars to distinguish this statue as Hellenistic rather than Archaic. The modelling of the back is one of the biggest alterations that occurs between actual kouros from the archaic period and the Piombino Apollo. The back of the statue is much more artistically advanced than the front regarding modelling (Ridgway 1967: 48). The subtle modelling of the muscular structures and ridges of the spine of the back suggest the desired realism of the Hellenistic era, instead of the basic and ridged ‘idealized’ form found in the archaic period (Ridgway 1967: 48). More subtle differences between a true archaic sculpture and a retrograded Hellenistic sculpture are also present in this statue in other areas, such as the feet. On most kouros, the feet are high arched, but on the Piombino Apollo, they are small and flat (Ridgway 1967: 49). Also the toes are a discrepancy between the two eras. Usually “archaic statues have [the toes] aligned with the central part of the other foot” (Ridgway 1967: 49) in a very geometric fashion. However, the toes on the right foot of the Apollo do not align with the middle of the left foot, and instead align with the left heel (Ridgway 1967: 49). As stated earlier, the hair is a defining feature in archaic kouros and it is typically flat and in a bulky beaded shape to best attempt to represent the different

During Ancient Greek cultures, women were portrayed separate from men. Starting with the Archaic period of Greek culture, Image C is represented. We can visually see that Image C is from the Archaic time period because she is standing upright and is free-standing. The Archaic period also used the cannon of one human head to get the proportions right. The Archaic period wasn’t particularly worried about the naturalistic aspects, but more into the idealistic forms. As we can see from the image, the sculpture shows stoicism in the face (when the face is unexpressive), and also shows the famous “archaic smile.” The Archaic smile is easily seen is this sculpture by having the lips together, dimples in at edges, and shows that the smile is too straight.

I chose two arts from Paul Cezanne's Mont, Sainte-Victoire and Raphael's Madonna of the Meadow. Both arts were very incredible and meaningful. Each art was showing the strong points of people, society, peach, and humanism. But I want to discuss between these arts. When I compared with both arts, I liked Madonna of the Meadow better than Mont, Sainte-Victoire. Because Raphael's art is giving you a clear point through his drawing. it has the clear shape, solid colors, specific lines, and value. In the other hand, Paul Cezanne's art was uncleaned. He used oil painting with the brush. some parts are exactly what it is but it seems he was boring. I felt he was just playing with any colors. In his art, the mountain is actual. He went in nature and

Due to the early time period, it’s held accountable that this particular sculpture evolved from representations in ancient civilisations based on cultural and religious beliefs. The goddess’ bare flesh is exposed and is holding a piece of drapery over a vase. She stands with a slight weight shift in her legs, as shown from the bending of her left knee and the curve of Aphrodite’s hips and neck. The gesture of her right hand covering her genital area constructs a sexual emotion of protection, fear and intimidation; this can also be seen through her body language as a whole. Additionally, her left hand tentatively holds the piece of drapery hanging over the vase, positioned in close proximity for caution. A realistic depiction of human hair is portrayed through different textures and carving techniques, similarly the breasts appear natural as well as the slight plumpness on the stomach. ’Aphrodite of Knidos’ is not any ordinary statue representing the everyday woman of ancient Greece, but instead Praxiteles’ imagination of a goddess he visioned humanlike with beauty as well as flaws (Blaker, 2014). Praxiteles depicts the female figure realistically therefore incomparable to a modern day woman who may stereotypically obtain surgical enhancements in hope of a better appearance, hence the statue ’Aphrodite of

This statue of Aphrodite shows the dedication the Greeks had to their gods. The bronze goddess, holding her right arm in the air, gives off a powerful attitude. As the pose itself of the statue is not bland and more active, it gives the impression that this was created during the classical period of Greece when sculpture began having more relaxed, natural poses. The lack of more painstaking muscle and bone structure probably places it in the earlier part of the classical period though. What is most intriguing about the sculpture is the white eyes she is given that, in the face of a more natural, realistic human form, the eyes seem to retain an essence

When one ponders the significance of the artwork that was produced during the Renaissance, Baroque and