Susan Lichtman’s “Domestic Arrangements” is showing in the Art Gallery. The exhibition runs from March 12 through Friday, April 22. The exhibition is organized by the interns in the Barton Art Gallery which curated by Maureen O’Neil. On Thursday, March 17, the Barton Art Galleries and the Barton College Friends of Visual Arts hosted a reception at 5 p.m. for the “Domestic Arrangements” exhibition by Lichtman.
When asked about her painting, Lichtman shared, “I think my idea of beauty in painting has to do with the tension between the depiction of deep space and the properties of shape and surface. I see that tension in interior paintings of artists I love best, from Roman wall painting to De Hooch, Vuillard, Bonnard, and Gwen John. Sunlight
It seemed to amaze her how they could tell her how they did theirs, but wouldn’t teach her how it’s actually done. All her paintings came from her traveling experience. I remember her saying how the clouds looked solid as she looked up and just imagined. She lived until she was 90, she died of old age. I admired the fact where she talked about how early she would wake up and what time she would be back after being out working as an artist because it showed how dedicated she was to her craft. There was a time when her drawings were put up in a museum without her knowing and she found out from someone else and got down to the bottom of
In her book Marriage a History Stephanie Coontz explains the male breadwinner family model and its dominance in family life during the 40’s, 50’s, and early 60’s. An illustration of the male breadwinner model is composed of a father, mother, and two children; typically a boy and girl close in age. Funded by their father’s well paying middle class salary, the wife and children live a comfortable life in suburbia and participate regularly in consumer trends. Perceived as the head of the household, the father was the sole financial provider. On the other hand the mother was the head of domestic life and was responsible for the children. The popular 1950’s TV show The Adventures of Ozzie and Harriet exemplified this family model. With regard to the male breadwinner family model, imagine having eight other brothers and sisters. Imagine growing up without a mother, and with a father who worked constantly. Then consider living this life alongside your peers who come from the “normal” male breadwinner families Coontz describes… How would your family differ from your peers? What would be your thoughts and feelings towards family life? More importantly, how would these unique circumstances change your perception of the nuclear family?
For example, the first painting that stood out to me was, “The Earth Matters”, by Lisa Jennings. The woman in the painting is holding the world in her hand, as she’s stands in a field of tall grass. There is filled space in the field from the tall grass, and empty space in the sky, because of it being clear and blue. The woman has no face, therefore she cannot see her future, but as she gazes down the earth must be important, as she holds it in the palms of her hands. Another painting that stood out to me
Heffernan’s paintings express her untamed imagination with majestic fantasy, dream-like subjects, yet she paints with a very classic technique. When I first viewed The Self Portrait as Wunderkabinett, Michelangelo’s Sistine Chapel came to mind. Michelangelo illustrates the desire and describes the oneness that humans anticipate with God through salvation. The artists painting technique is traditional, with the sensible and realistic proportions of the human body, the distinguishing lines, the application of shadow, the intricate detail on every object within the painting, and the use of traditional complementary color pairs.
I selected this painting because the colour contrast of the pink dress against the dark background caught my eye. I also found the expression of the young woman to be interesting.
When I first looked at this painting, I thought to myself, "It's boring. It's boring to look at. Why paint a picture of an empty bedroom?" However, once I started looking at all the elements, my mind changed.
The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the
Intrinsically intriguing as the artworks and themes are for many viewers, what lies with greater uniqueness is the visual context of art, as emphasized by Helena. Artworks, despite the era or time period, are always initially distinguished based on the surface; for example, what’s present and what’s going on. As I tour the Grohmann Museum with Helena, I was taught to look at the furthest distance in the portrait rather than the surface.
Love is defined as an intense feeling of deep affection. Although it is not as easily defined as some may make it. Every situation and the lessons we learn from those times, help to form what we believe love to be. For some it may be a physical attachment that others degrade to lust. For some it may be their reason for continuing on in life; but overall for most, love is what drives our lives. From childhood to adulthood we seek to find relationships that will fulfill our hearts and make our short time on Earth a little more enjoyable. However as well as any other activity we partake in, ways in which we perceive love and marriage have changed over time. Although there is slight variations, when most imagine the life of a married couple pure happiness is what is expected. As wonderful as that expectation may be, not every marriage fits into this ideal. The criteria of marriage used to be based off of what your partner can offer you. However as times have changed and gender roles have begun to disappear, marriage has now
My Sister’s Marriage” by Cynthia Marshall Rich portraits characters that have many family problems. The father Doctor Landis is a total control freak. He decides every little things in his two daughters, Olivia and Sarah Ann, life. The restrictions that the father puts upon on his two daughters have different consequence on both. Olivia, the oldest daughter, starts having rebellious feeling due to suffocated restrictions, while, Sarah Ann, the youngest daughter, starts to internalize the restrictions and value her limited opportunities. Everywhere in the story, we can see that, the daughters pass through so many intestinal conflicts that result in either imprisonment or liberation. Since the father is so controlling, he has instructed his daughters to have a perverted view of love which emotionally demolished and imprisons one,
I remember viewing Portrait of Dr. Heinrich Stadelmann by Otto Dix during an eleventh grade field trip to the Art Gallery of Ontario, and being completely entranced by the painting—unable to look away from it. At the time, I was not fully aware of the world of art and did not have the vocabulary and knowledge to articulate my interest in this particular painting. Now, after returning to the painting three years later, the experience is quite different. Being recently exposed to a fairly wide range of art last semester has allowed me to experience the painting under a more knowledgeable light. During this most recent viewing of the painting I paid more notice to the painter’s decisions regarding the paint application, the textures, the colouration, the lines, the composition, etc. The core of this different experience during this viewing is due to a newfound consciousness of artistic choice.
Secondly, the light and colors help to enhance the piece. Due to the oil painting,
Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the
In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.
They accounted for 10.8 per cent of the population, up from 9.7 per cent in 2001.