Cossington Smith's Paintings

Henry Ossawa Tanner is an African-American artist. His works often subvert racial stereotypes and display his experiences as an African-American. The Annunciation (1898) depicts a traditional biblical scene in a modern manner; the painting portrays the well-known scene of Gabriel appearing before Mary to deliver news that she is to be the mother of Christ, however instead of merely accepting this fate she seems to be reluctant. Tanner takes a common biblical subject matter and attempts to paint the scene in a historically and “archaeologically accurate” way. His work features Mary as a young Palestinian rather than the usual idealized Anglo-Saxon woman. Tanner humanizes Mary and adds a touch of realism through his style and subject, subverting the allegorical qualities of the familiar biblical scene. He works to highlight realistic human aspects and expressions and modernizes well-known and frequently depicted biblical scenes. His disposition to do so stems from his experiences as an African American and as an African American artist.

In the painting Jamestown Lifescape Keith Rocco uses vivid details to establish the theme that cooperation and synergy are necessary to survival of a productive. For example,the towns people are selling homemade products such as mugs,pans,and other cookware,to the wealthy townspeople in exchange for money. This shows that the common townspeople are working together by selling and trading things to help maintain the economy and accomplish more in their society. This also shows that citizens are being productive by making handcrafted products for everyone else in their community. The townspeople are being productive by building houses in their community. This shows that the townspeople build for the other people in their community so that during

Turner 's The Slave Ship, in addition to Monet’s Impression Sunrise, each collectively are a couple of masterpieces of the nineteenth century that examine the interpretation of colors in addition to motion. They may be intricate works that can be both identified as the face of artistic techniques; The Slave Ship is widely seen as a Romantic portrait becoming an outstanding illustration for the Sublime revolution, while on the other hand, Impression Sunrise is the earliest portrait recognized in the Impressionist age. Both styles are revolutionary artworks with approaches that a majority of individuals had never examined before. Although the artworks comprise of numerous things in common, both are specifically different from each other.

On September 19, 2015 I visited the Blanton Museum of Art at the University of Texas in Austin, where I observed The Raising of Lazarus by Joachim Wtewael in the European Old Masters gallery. The piece recreates the biblical narrative of Lazarus’ resurrection and demonstrates the exorbitant style of Mannerism popular during the 16th century. Wtewael establishes the significance of the Christ with his application of form through the use of unrealistic contortions of the people, the lines following the exaggerated limbs of the congregation, and the abundant use of the color red on almost every article of clothing.

Sir Sidney Nolan, in full Sir Sidney Robert Nolan (born April 22, 1917, Melbourne, Australia—died November 27, 1992, London, England), artist known for his paintings

Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches with a five-inch gold wood frame surrounding it. The medium is oil on stretch canvas. Everything within the painting centers on the king 's turned head and Daniel 's pointing finger. According to the placard next to the painting, the artwork depicts a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. The painting portrays a seated king, a dozing courtesan and Daniel. The three figures exist as the focal point of the composition. Hirsch applies a strong

Jacob Lawrence was an African American painter, who was known for his portraits of the African American life. He was best known for his series titled, the Migration. Lawrence was born in Atlantic City, New Jersey on September 7th of 1917. After his parents separated, Lawrence and his younger siblings were put into the foster care system until his mother could support her children in New York. His education into the world of art was not only formal, but informal as well. It was formal because he learned from after-school community workshops at Utopia House and later at the Harlem Art Workshop. However, it was informal because he could observe the rhythms and activity of the streets of Harlem. Not only was he a painter but he was active as a teacher, in contrast Lawrence was active as both a painter and art educator. In 1946, he began teaching at Black Mountain College in North Carolina and would go on to teach at the Skowhegan School of Painting and Sculpture in Maine and the New School for Social Research in New York. In 1971, Lawrence became a professor of painting at the University of Washington in Seattle. “Later on in his career, he was also known for his serigraphs (silkscreens), many of them versions of series of paintings completed in earlier years, as well as for his book illustrations. Lawrence was still drawing and painting in preparation for still another series of works when he died in Seattle in 2000.” (Capozzola)

Art is something that is often overlooked and never appreciated. What constitute as art depends on individuals and their interest. There are numerous art styles that contribute to the different styles of art. Famous artist Betye Saar and Charles White both contribute to the idea that art can be done in different ways, styles and methods. Betye Saar and Charles White were two African American artist who were very successful though they had two different styles of art.

At the beginning of the 1800s illustrators like Felix Octavius Carr Darley were typically on staff at printing companies, or in the newspaper offices. On average they would create their works with on-the-block engravers or lithographic stone plates. If they weren’t appointed to draw, coloring was their alternative means of collecting a paycheck. However, such opportunities went to a very meager amount of illustrators because at the time art training was scarce in America, so most illustrators had to teach themselves. However, overseas in Europe the illustration profession fared much better. (www.illustrationhistory,org)

Henry Darger was one of the innovators in collage art, and as a collage artist I have an extreme respect for his innovation in the field. Darger was extremely reclusive during his lifetime and his vast catalog of work (including a 15,145 fully illustrated manuscript) was only discovered until after his death. I was a huge fan of Darger's work at first sight. His use of color and collage astounded me, Darger's work was confusing, colorful, and some what terrifying. Which was everything I wanted to be as an artist. Darger's existence on the fringe of the art world, and his disdain for the concepts of art galleries and the mainstream art culture at the time, really spoke to me as an artist.

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On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

Memories can be as short-lived as the moments that created them. The recollection of events and the deterioration of memories over time is a constant process that cannot be stopped. This inevitable passing of memory is fused to the inevitable passing of human life. Emily Davis’s still life photograph of wineglasses is reflective and fragmented, allowing the image to act as a metaphor for this fleeting aspect of memory through its own memory-like qualities. The photograph is also symbolic of the transience of human life through the use of the traditional symbol of the wineglass, ultimately serving as memento mori.

Lawrence made paintings based on the theme of builders. These works present a limited palette of primary colors, black, and white and human activity is juxtaposed against architectural elements, building tools, and materials. They communicate Lawrence’s ideas about American worker culture, including female workers, and expanding the idea of the builder to include the family. These works also symbolically reflect increased African-American participation in the building trades during the 1940s and late

In his text entitled “Modernist Painting”, Greenberg focuses on the development of painting between the 14th and 19th century and emphasizes on what distinguishes Modernist painting from previous forms of painting, particularly those of the Old Masters. Greenberg begins by relating Modernist art to Kantian philosophy claiming that, the same way Kant used reason in order to examine the limits of reason, Modernist art is when art became self critical because it uses the technique of art to draw attention to its status as art. Indeed, he explains how without this self-examination similar to that of Kant’s reflection on Philosophy, art would’ve been “assimilated to […] therapy” like religion, because