Discharge Haulers On The Volga Analysis

Romanticism and The post impressionism era are two major periods on the time line of art history. Different forms of art including paintings, music, and architecture showed tremendous growth, and ended up making history. This essay compares and contrasts pieces of work such as Vincent van Gogh’s Starry Night and Joseph Mallord William Turner’s The Slave Ship. These two pieces both represent their own individual time periods, yet have similar characteristics. Both of these paintings have a way of uncovering a story without using a single word.

The image shows a sailing ship, it could be an optimistic view of the painter expressing their particular direction of their goals and how we make choices in life. Or goals that are merely drifting away because it is difficult to get what we want out of life at times. Also sailing away could be a form of independence and freedom were we wish to break free from the constraints of everything we do in our daily lives. sailing on stormy waters depicts the difficulty of our choices and that things might be tough going forward. Or simply the strong desire to change life symbolizing the positive changes of our

However, further connection in context and content can be developed when analyzing the connection of the works roots and art in history. Exodus exhibits the reality of human suffering as a result of war and oppression during the Hungarian Revolution. The historical relevance of this work dives into a deeper significance than its basic face value. The oppression and struggle for power signified in Exodus also translates into Figure 2. Both cultures, in their own time have faced their traditions and way of life being threatened. As Hungarian citizens are forced to leave their country, Ojibwa members were constantly threatened by European immigrants. The human experience is key in understanding and studying art. Besides the main styles and usage in appearance, the connection to a point in time and the influence of that time allows the audience to connect with the artist and the characteristics of the artwork. Audiences are able to connect past themes to present day issues, such as the difficulties facing many Syrian refugees and the numerous Native American women who have gone missing. The importance of home and culture is evident in both works despite their different purposes and artistic modes. Limits are explored and barriers of past, present are future are removed when audiences are able to interpret the work from any point in time and understand the significance of its visual and non-visual means.

Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would

Two of the paintings I came across, Ludolf Backhuysen, Ships in a Stormy Sea off a Coast, and Philips Wouwerman, Stag Hunt in a River were very similar in many ways. First of all, they were both European art, they are both 200 plus years old, and they both show very hectic times. The first painting, Ships in a Stormy Sea, displays several ships, (although it is hard to see the other 4), being almost entirely swallowed by an angry, wavy ocean, during an extremely stormy journey. All of the ships are at different levels and some are leaned over, and tipped more than others, allowing the viewer to realize the true horror occurring in this painting. The amount of line that this artist uses in this painting is tremendous as well, as he presents plenty of diagonal lines throughout the painting, such as on all of the ships sails. This piece of art is extremely realistic and gives me chills when I imagine what these sailors must have been dealing with that night. Not only does this painting show a hectic time, but another painting titled, Stag Hunt in a River. This painting displays a village, in the mountains, lying on a river, where hunters, horses, and dogs of the village are attacking a deer that is attempting to escape from them. This painting seems to describe a very hectic time for everyone, as the dogs are desperately trying to do their job, the deer is attempting to escape, and the hunters are relying on the deer for their food. Although there are many obvious differences in these two paintings, the roles are reversed in the two, as in Ships in a Stormy Sea, nature is doing the damage, while the people are trying to avoid danger. On the other hand, Stag Hunt in a River, displays nature being attacked and endangered by the people themselves. My favorite

Personification is used in both passages to create vivid images of how the ships flounder during the process in order to accomplish the dreams that people persist in minds. In “The Cargo Hulks”, personification illustrates the natural hardship that the ship undergoes: “ferocious high seas thundering, merciless Antarctic gales, the howling challenge of the Horn.” The difficulties are symbols of the hunger,

Examining the formal qualities of Thomas Birch’s painting An American Ship in Distress was very interesting. This paper will analyze and illustrate what I saw in this particular piece of artwork. The paper will also discuss the art elements such as line, shape, color, texture, scale, and composition of the artwork.

In this article Senses and Sensibility in Byzantium by Liz James will side step the squabble between art history and visual culture. It will explain what happen with art history and visual culture. Furthermore, it will explain how these both interact with other senses. The authors explain how the five senses of the human are involved in Art. Byzantine art tends to be considered in almost exclusively visual terms. However, Byzantine writings about works of art appeal to all the senses and aim to involve the listener (who may also be looking at the object described) in an emotional engagement with the image and with the scene it depicts.

Alistair MacLeod’s “The Boat” is a literary success on many levels. His ability to evoke mood, sustain a meaningful theme and a strong setting make this piece particularly impressive.

Nevertheless, the flag stands erect and flapping in the wind. On the right side of the piece, we view the exact magnitude of the storm through the “white wash” of the violent waves. Additionally, the sky to the right of the ship’s crow’s nest is lighter and hints of a sun trying to break through the lurking darkness. Despite the presence of other visual elements, what clearly connects is that the ocean, embellished and predominantly highlighted in the work, was Moran’s principal interest. However, the fact that something so fleeting as surging waves dominates the composition even to the visual expense and weight of an obviously colossal ship.

His many depictions of the river men following their everyday craft led to a sequence called “The River Paintings” (Richardson, p.1). This work is also very similar to Bingham’s previous work: Fur Traders Descending the Missouri, both of which portray a pair of fur traders—one very young and the other old—paddling down a still river with their chained animal companion (Richardson, p.1). Each painting is instilled with a sense of timelessness and simplicity; a combination of water, greenery, morning light, the figures, and their craft (Richardson,

Lev was born with the gift of artistry, his earliest memory at the age of four when he was “holding [his] pencil…and transferring the world around [him]” (Potok 5). This gift was the main catalyst for the turmoil within his youth, as well as his adult life. His gift made him acutely aware of the emotions and feelings of the world in which he lived and is anything but indifferent to the agony as well as joy of earth. He paints the world true to how he sees it, like how he painted Stalin when he was scared of going to Vienna. He is aware of the pain he put his parents through when he refused to go to Vienna, but he puts his gift above all. Lev’s ability to use his gift as a form of expression and escape adds to the world and helps with Lev’s own mental anguish over his trials with his father and religion. Lev pursues a mental peace and balance in his passion for art and love of his religion as an orthodox Jew. The two most important aspects of his life often battle each other, but he searches for harmony between the two. Painting and drawing is Lev’s medium to express him because it is where he can be truest to whom he is. His father, a huge figure in his life, “set himself as an adversary” (Potok 184) because his views Lev’s drawings as foolishness. As such, this past of constant conflict creates a strained relationship with his father. The two were never able to communicate without the help of Lev’s mother.

A painting that portrays the sublime is Mercker’s Copper Mill at Duisburg on Rhine River (Türk, 2003, p. 266). The painting shows a large factory that is right on a river, and the machines present in the painting

The introduction of Christianity into Russia spurred the development of the country’s fine arts. For 600 years, Christian forms of art dominated Russian painting, music, architecture, and literature. Russian artists, however, applied their unique vision and dramatically altered the style imported so it became their own. Especially in painting, the blending of foreign influences with native genius produced some of the world’s most beautiful icons. In the early 15th century Andrey Rublyov, one the greatest of

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.