Comparing The Works Of Giorgio De Chirico And Nietzche

In Phenomenology of the Visual Arts (even the frame), Crowther (2009, 74) identified how the physical embodiment of the lived body is the basis of our most fundamental

Leonardo and Raphael are perhaps two of the most interesting individuals in Art History. A man could spend a lifetime studying them and their works, and yet one would only be able to understand the complexity of their minds, but not the begging question of, “Who truly is Leonardo or Raphael?”. Perhaps, to begin to understand you might look deep into their art and view it, not as what you feel, but as what they felt. While art has always taken new forms, an Artist’s personality is always seen manifested in his or her work.

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

| a celebration of the genius that enabled certain people to convey profound insights through art.

“Art is an irreplaceable way of understanding and expressing the world. There are some truths about life that can be expressed only as

In John Berger’s essay “Ways of Seeing,” he shares his view on how he feels art is seen. Mr. Berger explores how the views of people are original and how art is seen very differently. By comparing certain photographs, he goes on to let his Audience, which is represented as the academic, witness for themselves how art may come across as something specific and it can mean something completely different depending on who is studying the art. The author goes into details of why images were first used, how we used to analyze art vs how we do today, and the rarity of arts. He is able to effectively pass on his message by using the strategies of Rhetoric, which include Logos, Pathos, and Ethos.

Of Beauty, Of Joy, Of Stillness, Of Love , the name explains it all; this art not only speaks to the mind, but to the body. Gioiosa’s use of lighting, space, psychological lines, shading, and balance are beautifully intertwined in his deep piece.

The purpose of this essay is to fully employ all of the new observational skills that I have learned from the start of the semester to now. With that in mind, I was feeling very excited to use these new “abilities” as I was observing art. The San Diego Museum of Art was very interesting indeed, and I have never experienced art in such a way that is sort of hard to describe. The museum had paintings and galleries ranging from the Renaissance era all the way to the eighteenth century and even Impressionism and Post-Impressionism as well. However, my eyes instantly caught Henri Matisse’s painting, Bouquet, this painting had so many details, elements, and meanings as well as similar characteristics from past chapters that I have read this semester.

Given the many versions and accounts of famous artist’s lifetimes, we’re shown the vast underlying meaning, and situational ironies, to several of well- known pieces of work we still admire today. Donatello, Verrocchio, da Vinci, Botticelli, Michelangelo, Caravaggio, Bernini; All of these artist left unique and controversial imprints on the timeline of art and life. Though many follow one right after the other, we see the changing of times through the midst of the creation of their works. Through the Renaissance and to the Reformation period, these artists help shape the nature of society. Coming to the end of the Renaissance era, an artist nicknamed “Caravaggio,” because of where he came from, pushed his world into the times of a more sound

1478There are many striking similarities between Alberti’s and Leonardo’s views on painting. For example, they both begin their treatises with definitions of the points, lines, and planes that generate geometric perspective. In addition, both men agreed that a good painting should “move the beholder in the same way as the protagonist of the painting is moved”(Leonardo 220). A good artist should have the ability to paint his figures in such a way that their expressions and movements convey their exact emotions, and that these movements should illicit an appropriate response from the viewer.

In beginning was the image. Before each of us learned to speak and speak on a topic, we started see and perceive the world through images. We tried to analyze what the world has to pass us. The same is true now, when as adults we choose, for example, to an art gallery. Looking at the work of art, at first glance, we can very quickly determine if that something we like or not, whether evokes in us an emotion. The model can also be in terms face or frontally, in profile or three-quarters, as shown in the image of Leonardo da Vinci’s The Head of the Virgin.

The Mona Lisa has to be one of my favorite paintings of all time and has lead me to use this specific painting as a topic for this paper. Not to mention the love I have for Leonardo da Vinci. I, myself have always been drawn to da Vinci’s paintings and all of his other achievements that he has given us during his life. I, like Leonardo da Vinci love art and science just as much as it seems he did. He shares a love of art and a fondness for science. It also seems that he loves a good mystery, and the Mona Lisa just happens to be one clouded in mystery. And I too love a good mystery.

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”

Giorgio de Chirico, an Italian painter in the early 1900’s painted an enigmatic painting named Mystery and Melancholy of a Street. In this unique painting, Chirico includes many abstract and geometric shapes. The setting of the painting seems like a mixture of Greek and early 1900 architecture and props, such as the wagon with only one lone figure of a child. For example, the two buildings depict a sterile, nearly empty scene, bordered by brightly, lit arches and rectangles windows on the left and dark, forbidding, and imposing building on the right side of the painting. Reminiscent of Greek buildings, this painting includes an abundant number of arches and quadrilaterals. To represent the early 1900’s aspect of the painting, Chirico includes

As onlookers peer into the artworks in front of them, there is no question as to whether or not they considered what the artwork means, where it came from and what the artist was interested in who created it. The