Engstrand Perception And Perfection Analysis

Furthermore, while he was honored and recognized by the inherent value of Native American history and the unbroken connection Indigenous peoples have with their roots, his art work is not the result of a desire to depict a romanticized and stagnant expression of a bygone historical era. His work and hope were capturing movement which made his art served as a metaphor for the viewer which boldly states that Indigenous American cultures while intimately connected to their history are in fact contemporary, alive, and constantly

This exhibition showcases art from the fifteenth century and early sixteenth century with Lord of Texcoco and the Texas Fragment. These two pieces represent post-Conquest art, and how indigenous figures were represented with European influence. In the seventeenth century, Antonio Rodriguez painted The Portrait of Moctezuma as well. His representation of Moctezuma showcases traditional clothing with European influence of modeling figures. This exhibition also features Miguel Cabrera, who was trained in European techniques and styles in Mexico during the eighteenth century under the patronage of Archbishop of Mexico, Manuel Joseph Rubio y Salinas. The exhibition features various artists from the nineteenth century as well, such as Felix Parra, Leandro Izaguirre, and Juan Cordero from the Royal Academy of San Carlos in Mexico City. Artists in the academy were trained in European styles of Neo-Classical forms to create their historical subjects. The purpose of the academy was to provide an outlet for legitimacy through the visual arts, and to reflect a nation's history. Often times, these paintings were political in nature, and reflected the patrons' wishes. This exhibition will link the representations of indigenous figures that appeared in Latin America through art in Mexico from the fifteenth to the nineteenth century and showcase how art

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

There are different approaches used when discussing the survival of indigenous visual cultures. Each essay provided for analysis interprets the conquest of the Americas differently and connects it to Colonial Mexico artistic production at various degrees. Each essay also advocates for its own term that can be used to represent the process of Spanish and Indigenous art forms coming together in a complex cultural context. Kubler advocates for the term, folk art to describe colonial art because it is art production that is devoid of its past meaning. His views on conquest explicitly claim that the Spanish conquest was successful due to Spanish superiority over Indigenous cultures. However problematic his claims are, he is able to dissect the forms used by the Spanish conquest to gain control over artistic production. Mestizo, is the term used by Neumeyer to describe the mixing of two art forms that can only be apparent when Indigenous people reached a high aesthetic culture during the conquest. He also promotes the idea that Colonial art was continuously developing. However, his views of Indigenous art is that it is unable to compete with European modes of art. Finally, Dean and Leibsohn use to the term hybrid as a production and enactment that challenges norms. “Hybridity and Its Discontents” is the most liberal of the three readings. It uses the term hybrid as a way to critique the cultural context in which it was able to be produced; Spanish conquest. It also, critiques

Because Schreffler is arguing that Díaz, López de Gómara, Solís and González created a misconstrued view of Aztec painting, imagery is a vital component of this essay. The visuals strengthen his argument by giving viewers a clear sense of the difference between typical Aztec panting and the painting that the accounts describe. For example, Schreffler includes two images of paintings done by the

However, they were demonstrating aesthetics of New Mexico within different direction, but they still show the aesthete of New Mexico during the nineteenth century.

During the late 1750’s visual art began to take its place in the colonial world with the birth of “Several outstanding artists” and their talent with portrait painting and

In spite of this, a few photos with high detail, Henry McArdle’s The Battle of San Jacinto and Private Gustavus Sohon’s Crossing the Hellgate, were reduced to a size that didn’t properly support the authors’ written investigation of the artwork. In addition, certain photos were excluded from the book; Fanny Palmer’s illustration Across the Continent, though described, is nowhere to be seen for instance. It is frustrating to read about an artwork with no representation of it; it is further aggravating to discover that the designer of the book placed photos pages away from the writing in an inconsistent way throughout the

American art, and its countless mediums, evolved equally with the capitalist country. This is a visual medium and a form of self-expression, where an artists is free to turn a canvas into anything he or she would like. They are not bound by grammar, words or other aspects of written communication and could freely As the old saying goes, "A picture is worth a thousand words”; and in America, their work served as mirrors of the social and political climate. The many painters, architects, and photographers themselves could be considered the archivists that shaped the “all-American” identity.

     During the 1920’s, many young artists, suck as Diego Rivera, David Alfonso Siqueiros, and Jose Clemente Orozco were commissioned to decorate numerous public buildings with dramatic large scale murals. These were done to try

To know an author is very helpful; how the author's artistic style is connected to their life. Before I chose this article, I found a lot of articles

Throughout the reading, Bagley makes readers rethink about the meaning of art history and the reason of art assignments through his analysis on other experts’ faiths. I agree with Bagley’s arguments on art history teaching and support his practical solutions for beginners to make comparisons. The author seems to emphasizing that comparisons help beginners hypothesize the artist’s intention and further understand the properties of the object from contrasting Ernst Kitzinger’s and Taylor’s writings. Kitzinger compares and contrasts the style of arch in different time periods which make his writing convincible and factual; on the other hand, Taylor compares artworks with his own drawing and unrelated ones which is nonsense to me. After reading

“What is art?” This was a question that was frequently asked in the nineteenth century, and, thus, whose complex answer was attempted by numerous artists. In the beginning of the nineteenth century, the Academy and private Salons were looked upon to provide a stable and traditional style of painting. However, soon artists began separating from the rigid personality of tradition. The Romantics began to describe the sublime. A large shift into history paintings became all the rage. An example of this shift being The Raft of the Medusa by Géricault. Then, mid-century, Realism swept across the nation portraying scenes of the actual world instead of an unusual one. A perfect example of the true reality adhered by the Realists is Courbet’s A Burial at Ornans. This piece shows a funeral progression as it truly happened. At the end of the nineteenth century, Impressionism invited bright, vivid colors and loose brush strokes. The Academy rejected this style for its lack of purpose or subject. However, several of these artists came together, creating their own shows against the popular Salons. The Impressionist’s work was so successful that the door was

As part of the commemoration of the International Museum of Art & Science’s 50th anniversary, this exhibition honors the major contribution made by this artist to the artistic culture of the Rio Grande Valley. Works from family and local collections encompass 53 years of his life in art including Abstraction Expressionist paintings, grovescapes, and works inspired by his travels in Mexico where he collected folk art and absorbed its culture.

This week’s reading presents a brief summary of the career of the Pre-Raphaelite painters Anna Blunden, Elizabeth Siddal, Lucy Brown and the photographer Julia Camero, and their struggles to became well-known respected artists. I believe that the main point of this reading is to show the difficulties of female artists in a patriarchal world. All these women share same obstacles and frustrations due to their role as women in society and their disadvantages within the artistic arena. We might question why there are so few female artists recorded in history compared to men? definitely, this reading portrays the adversities that women faced during the 18th century when their aspired to become artists. For instance, Elizabeth Siddla’s career was the one that most caught my attention. Even though she had a short career, I really admire her persistence and perseverance to achieve a professional status. Coming from a lower social class, hence, not having monetary power or family connections with painting she had encountered with extra difficulties during her career. In order to get access to the studio, she occasionally model for Walter Deverell, which was not considered “respectable.” Furthermore, in